Програмність в українській скрипковій музиці: історичний, соціокультурний і естетико-стильовий аспекти

Борух, Ірина Михайлівна

Програмність в українській скрипковій музиці: історичний, соціокультурний і естетико-стильовий аспекти

Борух, Ірина Михайлівна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2416

Date: 2020

Abstract:

Дисертацію присвячено вивченню програмних творів українських композиторів для скрипки соло та для скрипки й фортепіано – від циклів і концертних п’єс до дитячих мініатюр. Українська скрипкова музика неодноразово ставала об’єктом досліджень у різних напрямках музикознавства, проте її програмна складова розглядалася лише частково й досі не отримувала окремого цілісного аналізу. В роботі зроблено спробу класифікації програмних творів, а саме, досліджено закономірності формування й побутування таких програмних модусів: парафрастичного, психологічно-настроєвого, зображально-настроєвого, звуконаслідувального, портретного, образотворчого, сюжетнофабульного, узагальнено-образного, символічно-образного, сакрального і модусу-присвяти у скрипковій музиці різних жанрів. Звернення композиторів ХІХ – початку ХХІ століть до названих модусів набуло характеру тенденцій, що висвітлюються в роботі в діахронічному ракурсі. Вони були спричинені суспільно-політичними і культурно-історичними умовами, національними архетипами і ментально-духовними устремліннями, педагогічними та репертуарними потребами і запитами, особистісними авторськими мотивами тощо. Запропонована в дисертації методика аналізу ґрунтується на міждисциплінарному підході та розумінні програмності, як принципу композиторського мислення, заснованого на приблизній або точній конкретизації образного змісту в інструментальному творі через його назву (або розширене пояснення, епіграф тощо) з метою психологічної підготовки реціпієнта до його сприймання.

Description:

The dissertation is dedicated to the study of program compositions of Ukrainian composers for violin solo and for violin and piano – beginning with cycles and concert plays – to children’s miniatures. Ukrainian violin music has repeatedly become the subject of research in various areas of musicology, but its program component has only been partially considered and still has not received a detailed and integral analysis. In the dissertation we have made an attempt to classify program compositions. We have traced the regularities of formation and functioning of such program modes as: folklore genre, periphrastic, psychologically-tuned, figuratively-tuned, onomatopoeic, portrait, pictorial, storyline, generalized-figurative, symbolic-figurative, sacral and dedication-mode. The appeal of the composers of the 19th and early 21st centuries to the mentioned modes became a trend, which is covered in the research in the diachronic aspect. The tendencies in the use of these modes were suggested by personal psychological and creative impulses of artists, as well as the general atmosphere of one or another era, its socio-cultural priorities, general music and stylistic peculiarities. Suggested in the research methodology analysis is based on the interdisciplinary approach and understanding programming as a principle of composer’s mentality based on the approximate or precise specification of the figurative content in an instrumental composition, through its title (or extended explanation, an epigraph, etc.), with the purpose of a listener’s psychological background for music perception. The founders of the violin program music – amateurs and professional composers – introduced figurative content specifics primarily through the national folklore sources. This tendency proved to be very durable. In the Soviet times it was supplemented by “international” samples. Patriotic heroism entered the violin program literature, as a reflection of historical moments, legendary motifs, memorable events, etc. in its titles. This thematic line initiated from the ancient folk-instrumental compositions about Dovbush. The tendency of dedication composition devoted to an outstanding and nationally bound individual was firmly established. In the 1960s, the tendency of folk authentication in the specifically figurative themes of violin music was revived again – in the line with the “new folklore wave” of national art and postmodernist stylistics. At various stages of the violinrepertoire, the Ukrainian composers showed great interest in the implementation of images from the sphere of literature and other arts. During the years of independence, there was a tendency in the appearance of new program ideas, causedby the freedom of religion, propensity to mythology and the multifaceted figurative symbolism, the need to respond to important social changes, the realities of the present day. The organic inclination to programming is typical to the children's violin literature. Like the others, the Ukrainian composers try to get children interested in the ordinary everyday objects and images of nature and environment, familiar characters and feelings. They also make an attempt to accustom the young generation to the “national image of the world”. In the Soviet time, there were a few cases of conformism, but this was a general artistic tendency. In our time, the program violin creativity for children continues to evolve, using the modern stylistics (including jazz). The analyzed violin pieces testify the diversity of program variety of the titles, which were applied due to a wide range of stylistic means (individual and general), as well as the specific techniques and methods of playing the violin, which thanks to the programming have been significantly enriched. An important regularity characteristic of many composers was the complementarity of the genre definition and program title. Another regularity of the violin program music is the intersection or stratification of modes in specific works. This is explained, first of all, by the convention of this classification (as, after all, of any artistic classification), as well as by the versatility of the artistic conceptions of some authors.

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