Alexey Larin: Choral Works of the 2000s (Aesthetics and Musical Means of Expression)
| Autor: | Elena Yurievna Sokolnikova |
|---|---|
| Jazyk: | ruština |
| Rok vydání: | 2018 |
| Předmět: | |
| Zdroj: | Известия Уральского федерального университета. Серия 2: Гуманитарные науки, Vol 20, Iss 2(175), Pp 230-238 (2018) |
| Druh dokumentu: | article |
| ISSN: | 2227-2283 2587-6929 |
| DOI: | 10.15826/izv2.2018.20.2.038 |
| Popis: | This article considers some issues connected with the musical language of the composer and the means he uses to implement his concept typical of some of his works. His choral opuses possess certain style features making them different from compositions of other types of scoring and works of his contemporaries. As regards the author’s individual style, its most stable features which started forming early in his career persist later on. The distinctive features of A. Larin’s musical style which took shape and evolved throughout the 1980s—1990s, have been gradually renewing recently. In the 2000s, the composer continues working with choral genres, which existed previously (cantata, choral cycle, choruses, choral adaptations of folk songs). Additionally, he is developing genres based on a synthesis of literature and music (cantata-palindrome). At present, there appear new variations with genre characteristics typical of previous works acquiring new features (theatrical concerts or casting). What remains the most stable element of his works is the use of original sources (most frequently, in the form of Russian, and, more rarely, foreign folklore songs). The musical language of A. Larin’s choral compositions is characterised by the dominating nature of its texture and timbre, arranging the melody and harmony, its rhythm, and sound parameters (such as accentuation and dynamics). The analysis is based on the hermeneutic, structural and systemic approaches combined with the semiotic approach. The author refers to works of philologists (V. V. Vinogradov, B. Zhitomirsky, D. S. Likhachev, N. Fateeva) and musicologists (N. S. Gulyanitskaya, Yu. N. Tyulin, S. Skrebkova-Filatova, etc.) as well as the composer’s views which help understand the issue in question. The article may be of use to musicologists, choirmasters, teachers, and everyone interested in the composer’s work and modern art. |
| Databáze: | Directory of Open Access Journals |
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