Чжао Юаньжень: хоровая баллада «Морская Рифма» как символический образ нового времени
| Rok vydání: | 2022 |
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| Předmět: | |
| DOI: | 10.24412/2070-075x-2022-2-25-35 |
| Popis: | В данной статье рассмотрено творчество великого китайского деятеля новатора, композитора и педагога – Чжао Юаньженя. В центре внимания его хоровая баллада – «Морская рифма», ставшая самой амбициозной попыткой китайских композиторов развить китайское музыкознание в области освоения новых техник композиции. Выступая в своем творчестве за свободу и патриотизм, в данном произведении Чжао демонстрирует смелый и новаторский дух как в выборе тематики, так и в раскрытии национального стиля музыки. Данное творение представляет собой переходный этап от школьных песен к масштабным повествовательным хоровым произведениям. The article analyzes the works of Zhao Yuanren, a great Chinese innovator, composer, mathematician and linguist. The author’s attention is focused on his ballad “Sea Rhyme”, a landmark work for Chinese musicology. The ballad was able to embody a symbolic image of the era of change (1920s) and become a point of reference for China’s new choral music of the 20th century. Written in 1927 to words by the poet Xu Zhimo, the ballad demonstrates a bold and innovative spirit both in its choice of subject matter and in its exploration of the national style of music. Reacting sharply to the social and political transformations in the country in the 1920s, Zhao succeeds in creating a work that seems clearly intended to reflect the idea of the new age: liberation from the shackles of feudalism. Among other things, the ballad is notable for its incorporation of the means of musical expression common to Chinese traditional musicianship, and its use of a variety of modern choral writing techniques serves as a “springboard” for the exploration of new compositional techniques in the works of successor composers. Intending to adapt key aspects of Chinese musical culture according to a new model that entailed combining Western compositional techniques with the original Chinese folk melos (folk songs and Chinese drama), Zhao showed himself to be a composer advocating the modernization of Chinese musicology, which allowed Chinese composers to come closer than ever to the cantata-oratorio genre. The article also provides a vocal and choral analysis of the ballad “Sea Rhyme” and focuses on the fact that through the symbolic image of a “girl who wants to free herself from the shackles of the mediocre world”, the composer was able to convey the romantic spirit characteristic of Chinese youth of the 20th century. The author concludes that the choral ballad “Sea Rhyme” is the composer’s skillful attempt to bring new developments in the musicology of China and to symbolically reflect the contemporary social and political processes. |
| Databáze: | OpenAIRE |
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