Музыкальная интонация в моделировании образов окружающего мира в творчестве Хуан Цзы
| Rok vydání: | 2021 |
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| Předmět: | |
| DOI: | 10.24412/2070-075x-2021-1-27-35 |
| Popis: | В центре внимания работы находится изучение музыкальной интонации в вокальных сочинениях Хуан Цзы. Предмет исследования – функции музыкальной интонации в создании образов окружающего мира в вокальных сочинениях Хуан Цзы. Методологическая основа: комплексный, феноменологический, семантический, компаративистский, культурологический, герменевтический подходы. Новизна исследования состоит в определении ведущих образных сфер и их музыкального воплощения в вокальном творчестве Хуан Цзы. Обосновывается, что для раскрытия образов окружающего мира композитор отдает предпочтение образам природы и растительного царства, которые раскрываются в романсах позднего периода символически, аллегорически, метафорически. The study examines the romances of Huang Tzu of the late period. The main problem of the study is to show the intonational diversity in the reflection of the images of the surrounding world in the romances of Huang Tzu’s later works. The aim of the study is to reveal the functions of musical intonation in modeling images of the surrounding world in the chamber-vocal works of Huang Tzu using the example of his romances of the late period. The research hypothesis is the authors’ assumption that in Huang Tzu’s chambervocal works, musical intonation performs complex tasks, acting as a sign-signal, performing symbolic and archetypal-code functions. The use of integrated and phenomenological approaches contributed to the understanding of Huang Tzu’s romances as a kind of a syncretic unity; semantic and hermeneutic approaches allowed revealing the characteristic elements of traditional culture in interaction with Western European compositional laws; comparative and culturological methodological approaches helped to reveal the common and the different in the Chinese and Western European vocal lyrics. As a result of the study, it is substantiated that the composer chooses different faces of nature as leading images of his later works, continuing the traditions of Chinese poetry. It is concluded that Huang Tzu interprets the images of the plant and animal kingdom in different semantic aspects: symbolically, allegorically, metaphorically. It is emphasized that the composer understands musical intonation in an archetypal way, using the communicative archetypes of “invocation”, “request”, “meditation”. The intonational “archetype” of a request is a symbol of generalization of the variety of intonations of human speech; the archetype of “call” appears as a signsignal; the archetype of “meditation” through whirling and swinging embodies the eternal peace and tranquility of the universe. It is concluded that in reflecting the images of the surrounding world, Huang Tzu did not fundamentally separate the intonational spheres of the East and the West, but unconsciously chose semantic areas that were common to all people: life and death, peace and war, man. |
| Databáze: | OpenAIRE |
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