C. Orff. stage cantata «Carmina Burana»: grotesque as a means of creating an artistic image of the Fried Swan

The purpose of the article is to analyze the image of the Fried Swan from the stage cantata of Carl Orff "Carmina Burana" through the category of grotesque - the worldview principle in the culture of the Middle Ages and one of the leading types of artistic imagery in art nouveau. The paper reviews literary and musicological research on the grotesque as an aesthetic category and its application as a method of revealing the artistic image. What is being analyzed: the aesthetics of vagrant poetry, which is the basis of the libretto of Karl Orff's stage cantata; traditions of interpretation of the image of a swan in mythology, folk culture, folklore of different peoples of Europe, Christianity, literature of the Middle Ages, the Renaissance and the New Age, in particular in Romanticism, as well as in the fine arts; features of Latin poetry in general and "Swan Song" from the poetry of vagrants in particular; application of alliteration; a variant of translation into Ukrainian is provided, which is intended for a more accurate understanding of the essence of the image, reveals its new facets and is addressed to the performers of the Fried Swan part in the preparatory period of work on the image, as well as listeners. The image of the Fried Swan is the embodiment of "grotesque realism" (A. Gurevich) of the Middle Ages. The methodology is based on the application of a holistic musicological analysis, which includes philosophical-aesthetic, literary-linguistic and musical-theoretical levels. The scientific novelty of the work lies in the application of the grotesque as a philosophical and aesthetic category for studying, in particular, one of the most original images of K. Orff's work and the concept of modern musical theater in general. Therefore, the artistic and aesthetic interpretation of the figurative sphere of the cantata is considered relevant, and this work is the first such attempt in Ukrainian musicology. Conclusions. The image of the Fried Swan embodies the grotesque, in which the high and the low, the believable and the unreal, the tragic and the comic, coexist. It reflects the mentality of the Middle Ages as a unity of antinomies and at the same time possesses the characteristic features of the culture of art nouveau, where the grotesque is a typical tool for perceiving reality. The image of the Fried Swan can be considered as a kind of "key" for understanding two "artistic mentality" at once - of the Middle Ages and of the Art Nouveau.

Análise musical: a Idade Média em Carmina Burana de Carl Orff

Carmina Burana é uma obra musical até hoje interpretada por várias orquestras e coros, e também apreciada por vários músicos e estudantes de música. Entender quais ferramentas da Idade Média se faz presente dentro dessa obra moderna é indispensável para compreender a composição de Carl Orff. Com o objetivo de esclarecer essa questão, foi realizada uma análise de caráter explicativo abordando contexto histórico e musical. Por meio de pesquisa em livros, documentos, artigos e sites, além da referência gráfica da partitura de Carmina Burana Cantiones Profanae, ed 2877, da editora Sott- Ehamc, foi estruturada uma, dentre outras possibilidades, interpretação analítica desta obra. Este artigo pretende contribuir musicologicamente com análise musical além de informações documentais.

Medievalism Goes Commercial

Many of the extant analytical models for music in advertising used in academia build off of the work of David Huron and Nicholas Cook. Their work, along with many other studies, have laid a solid framework for examining music in a single advertisement. This chapter explores the usefulness of register theory as a methodology for meta-analysis, exploring conceptual relationships between multiple advertisements using the same music. To that end, the chapter postulates the register of “epic” as a conceptual space to draw connections between recent uses of “O Fortuna” from Carl Orff’s Carmina Burana and “Sunrise” from Richard Strauss’s Also Sprach Zarathustra in contemporary multimedia. Building on the application of cognitive pragmatics to music laid out in works by Lawrence Zbikowski and register theory of Michael Long, the chapter offers analyses of advertisements for a variety of companies, including Hershey’s, Domino’s, and Walgreens, among others. In each case the chapter explores how these various advertisements use existing music to tap into cultural myths of romanticized pasts and idealized futures, related to each other through the idea of epic, and in the process aims to show how register theory can offer a meta-conceptual space for analyzing multimedia objects that are inherently intertextual.

Antički i mitološki motivi u zbirci Carmina Burana

ANTIQUE AND MYTHOLOGICAL MOTIFS IN CARMINA BURANA This paper discusses the function, purpose, place and formal characteristics of the Greek and Roman mythological motifs in the poems that are part of Carmina Burana, a medieval collection of poetry dating from the first half of the 13th century. Different relations established between the aforementioned motifs and lyrical subjects are also examined, as well as how these motifs fit into the context of the individual poem and the entirety of Carmina Burana. The paper focuses exclusively on the motifs which belong to the ancient Greek and Roman traditions, and not on those of the Judeo-Christian provenance, although the latter are numerous in their own right. Also, as Publius Ovidius Naso is often regarded as the main influence on the goliards, traces of his works and militaristic concepts of love visible in the poems of Carmina Burana are also highlighted and examined. The focus of this paper is on those poems which belong to the basic thematic elements usually attributed to the goliards, including tavern, wine, gambling, physical love and satirical and anticlerical overtones.