Musical drama in audiovisual space

The purpose of the article is to study musical drama, as an essential element of the audiovisual space and life, to reveal its role and influence on the quality and nature of the audio field as a whole. The research methodology is based on the use of analysis, and synthesis. The scientific novelty lies in the representation of the attempt to create a theoretical concept concerning the significance, role, and implementation in the reality of musical drama as the most important component of the audiovisual space. Conclusions. As a result of studying the above problem, there is a theoretical concept, which consists in determining the nature of the interaction, as well as the role and mutual influence of musical drama and audiovisual space. The results obtained make it possible to realize the importance of musical drama for the audiovisual context, its influence on its qualitative characteristics, and perception by the audience. This opens up prospects for such spheres as cinematography, media field, synthetic art compositions, combining audio and video elements. Keywords: musical art, architectonics, audiovisual field, audiovisual context, the theoretical concept of the phenomenon.

THEMATIC DEVELOPMENT AND EARLY DRAMATURGY BY D. D. SHOSTAKOVICH

The article is devoted to the analysis of the dramatic patterns in the early quartets of D. Shostakovich. The features of the content and form formation in the quartets are determined. The purpose of the study is to determine the specificity of thematic development, which determines the laws of musical drama. The scientific novelty of the research lies in the study of the peculiarities of the organization of the integral structure in quartets on the basis of the intonational unity of the parts, as a manifestation of the essence of D. Shostakovich's chamber style. As a result, it was revealed that the figurative and emotional structure of music in quartets is aimed at embodying a multifaceted image in its development, reflecting the wealth and unity of its internal opposites.

Genre poetics of R. Wagner’s “Parsifal” in the context of Gesamtkunstwerk idea

Background. Over the course of the last decades, musicology was marked by a revival of interest in the phenomenon of artistic synthesis. This paper considers it in view of “general unity” as one of techniques of understanding the 19th century culture. Such a mindset can be defined by various terms, including Gesamtkunstwerk. The scholars today do not narrow this term down to a mere synthesis of arts, but add immersion into cultural history to it. This allows us to view Gesamtkunstwerk as a way of cultural memory existence, and genre poetics of R. Wagner’s musical drama as a bearer of this memory. In this context, special place belongs to “Parsifal”, which in this article is presented as an absolute embodiment of the idea of Gesamtkunstwerk. The aim of the article is to reveal compositional devices, through which references of “Parsifal” poetics and other genres of different arts create “general unity” under the sign of “Gesamtkunstwerk”. A genre method, a systematic method based on interdisciplinary approach, and a comparative one are chosen as methods of research. Research materials used in the paper relate to different branches of Humanitarian knowledge, including theatre arts (S. Mokulsky), literature (M. Bakhtin), medievistics (A. Gurevich), musicology (M. Veremiova, N. Vieru, E. Makhrova, K. Richter, A. Philippov etc.). It is noted that the definition of “Bühnenweihfestspiel” indicated in the score speaks of the relatedness of this work to the genre of medieval mystery. We have detected some common features of “Parsifal” like slow-paced events, their rather low concentration in time and meticulous development of verbally-acoustic matter. In the musical drama under consideration both a word and a system of leitmotifs function as an instrument for the above-mentioned scrupulosity; thus, poetics of a mystery is transformed into poetics of musical drama. The references of “Parsifal” to medieval epics are noted. Its plot contains only essential for the main storyline events. Cumulative method is chosen as the basic one which defines the algorithm of compositional movement, making it somewhat discrete. At the same time, the continuous flow of leitmotif development contributes to endless disclosure of the sense and its symbolization. Duality of time contributes to appearance of spatiality in genre poetics of “Parsifal”, which also corresponds to the epic poetics. There are some references between genre poetics of “Parsifal” and such types of novel as “Erziehungsroman” and “adventure novel”. The features of “Erziehungsroman”, based on a choice of constantly evolving protagonist as a plot-creating device are embodied to the fullest extent in a presentation of the main hero of “Parsifal”. In the work he passes the way from a naïve youth to the saviour of The Holy Grail, doing the deed of all-embracing love, thus the portrayal of his image is done according to the principle of development. At the same time, there have been revealed differences between the last work of the composer and “Lohengrin”. Unlike Elsa, with her gradual transformation, Parsifal undergoes this process almost instantly. But R. Wagner, using leitmotiv system, reveals subconscious psychological development, thus using it as a nonverbal explanation of one of the essential plot events in the work. The links between “adventure novel” and “Parsifal” lie in the type of intrigue, localization of space-time, due to which it is differentiated into adventurous, legendary, psychological etc. The hero, shifting into another spacetime dimension, transforms his image. This paper shows it on example of Kundry. This heroine in her cyclic “death – resurrection” transformations completely belongs to poetics of the myth, although the composer here does not use it as an example, as he fills musical characteristics of Kundry with all the traits of opera character. The article explores references of “Parsifal” to Passions by J. S. Bach. It is pointed out that in this case R. Wagner does not follow their specific traits, as he chooses the most essential features of poetics of this genre. A сonclusion is made that genre poetics of “Parsifal”, reflecting the features of poetics of another genres, incorporates their essential traits, which are then intertwined into general texture of musical drama, creating inseparable fusion, according to the Gesamtkunstwerk idea.

The image of femme fatale in Sergei Prokofiev’s opera of the 1910s – 1920s

The comprehensive analysis of Sergei Prokofiev’s operas “Maddalena”, “The Gambler”, “The Fiery Angel” reveals the peculiarities of personification of the image of the protagonist as femme fatale (Maddalena, Polina, Renata). Despite heightened interest to this topic, this article is first to view the listed operas from such perspective, which defines the scientific novelty. The fact that the libretto of these works was created by the composer himself can be considered as testimony that S. Prokofiev deeply intertwines with the psychology and personality traits of his heroes. The composer depict “femme fatal” a specific type of personality that combines self-worth and spiritual pursuit, desire to manipulate others and natural talent, no sense of guilt, and realization of self in another person. The use of comparative-historical, musical-culturological, and theoretical-analytical methods allow tracing correlation between the opera plot and their life context of creation, finding differences and commonalities in the means of expressing the image of femme fatal, and indicating the evolution and universality of the composer’s way of thinking on the early stage of creation. Attention is given to the synthesis of the principles of symbolist, romantic, realistic and expressionist musical drama, which S. Prokofiev uses in the opera under review.

Intonation image of the home area in «Reminiscences» chamber symphony by V. Telychko

The purpose of the article is to identify the peculiarities of the intonation plot deployment in Reminiscences chamber symphony by V. Telychko in terms of the genre interpretation peculiarities. This study is particularly focused on the analysis of V. Telychko’s musical language components, the principles of its formation, as well as the stylistic peculiarities. The methodology includes the methods of stylistic, historical-comparative, system-structural, and hermeneutic analysis aimed at understanding the features of this genre in the composer’s legacy. Scientific novelty. The article theoretically substantiates the individual-style model of the chamber symphony genre in art by V. Telychko. Conclusions. Reminiscences chamber symphony is a unique artistic phenomenon in the symphonic works not only of V. Telychko but also of the Transcarpathian professional school of composers. Continuing the line of lyrical-psychological meditative symphonism inherent in modern music, the work represents the moment of human touch to the inviolable, eternal, where not only intonational images of the past but also their relationship and lifestyle become extremely important. Meditative images of Transcarpathian musicians are organically embedded by the composer into several thematic formations: the author's topics of reminiscences and the relentless cluster of time. The use of quotations and monograms, along with the other means of expression, introduces programmatic features, symphonic plots. The intonation plot of the chamber symphony formed an individual genre model of the work, which combines a symphony and a lyrical monologue. Symphony is characterized by a cyclical structure, the logic of musical drama, intonation connections between the parts. The confessional nature of the author's statement reveals the features of monologue.

Analysis of the Opera Kerem by Akhmet Adnan Saygun

The article analyzes the musical language of the opera Kerem by A. Adnan Saygun. Ahmet Adnan Saygun was born during the Ottoman period and lived in the newly created Republic of Turkey. Saygun is one of the founders of the Turkish School of Composing, as well as one of the founders of the Turkish Five. The composer paid great attention to folk art and national values. You can always see folk music and folklore in his works. The purpose of the research is to analyze Sufi motives in the scenes of the opera. Mainly, the attention is paid to musical drama and harmonic aspects of the opera, which directly reflect Turkish folklore and musical culture in general. The research methodology lies in solving a scientific and theoretical problem. A number of theoretical and analytical methods have been applied, highlighting the principle of using a literary text in musical scenes that contain phrases that reflect “reunification with the Creator” in Sufism. The use of characteristic rhythmic patterns in mystical scenes, when searching for information, the methods of the axiological concept of culture were used, which made it possible to highlight the characteristic features of Turkish music. The scientific novelty of the research lies in the fact that for the first time the reflection of religious characteristics based on folk music, in particular, based on modal structures and maqams, analysis of the mystical motives of the opera, in combination with modern musical techniques is considered. Conclusions. Saigun’s opera Kerem is one of the rare works based on Sufi philosophy. A clear reflection of the main thought of Sufi philosophy was noted in Kerem, according to which the suffering of the seeker of truth is marked by a return to it. The way of light is the way of Allah. The composer, to show the unique colour and character of Anatolia, the life and customs of people, used the fret and rhythmic structure characteristic of Turkish music. As a result of the study, we see how in Kerem the author enthusiastically and passionately works on national values in all aspects of the opera.

Intonation Attributes of Traditional Singing And Recitations of Suzhou Musical Drama

The aim of this paper is to identify the intonation attributes of traditional singing and recitation in Suzhou musical drama, which is embodied in the melodic organization of melody, rhythmic pattern, signs of syncretism with speech and gestures of singers-actors, which add semantic certainty and artistic expression to images. Research methodology. The study investigates this issue by examining the basic methods and principles of musicology. Results. Suzhou drama is based on traditional folk songs of the northern regions of Jiangsu province, “labor cries”, such as urging bulls when ploughing, woman crying, jumping on horses etc. The melody of the Lahongqiang is characterized by the transitions of the female falsetto into high octaves, which are balanced by the inclusion of a recitative that affects the feelings of the listener. The realization of works of Suzhou musical drama, in particular vocal-declamatory methods of performance, requires singers-actors to master the skills of improvisation in the process of creating a stage action. The intonation attributes of melody and declamatory speech, which are based on dialects of oral language, folk songs of the northern regions of Jiangsu province, due to the traditions of the population of this area. The fricative basis of singing is pentatonic, the structure of the “jumping” rhythm with frequent “turns” evokes in the listener a sense of novelty, energetic free movement. The properties of the declamatory pattern of “da-shetou” is one of the outstanding features of Suzhou musical drama. Novelty: the concept of “Lahongqiang” can be used in a number of meanings: in a broad sense — if we talk about the traditional nature of one of the types of songwriting; in the narrow sense — to use as the name of the music genre and performing arts. Practical significance. The properties of the declamatory pattern of “da-shetou” is one of the outstanding features of Suzhou musical drama. Importantly, it enriches the area of cognitive ability to understand the communicative “axis” of the East-West artistic relationship.

Drama Musical Sepatu Kaca

Glass Shoes drama musical is an alternative whose made by director for attract the public's attention to watching theatrical performances. Based on facts found in the field, the theater has now lost its audience. Therefore, theater artist must make a new breakthrough in giving understanding to the audience, through the work he created. Musical dramas that carry children's tales are based on the importance of providing educational values to character formation. The combination of music, dance and vocals will provide different sensations and provide entertainment for the audience. Koreo and songs created based on the script will convey a sense that is not conveyed by words. This relates to a musical drama featuring three main objects, namely dialogue, dance and singing. The making of dances and songs is done carefully and intensely so as not to stick to one another. The Glass Shoes drama musical uses mobile settings that can be moved and moved quickly as needed. Penyesuaian video art di setiap adegan dapat memberikan visual yang menarik . perpaduan antara setting mobile dan video art serta unsur lainnya akan mewujudkan multi disiplin ilmu yang sejalan. Adjustment of video art in each scene can provide interesting visuals. a combination of mobile settings and video art and other elements will realize multi-disciplines that are in line. The Glass Shoes drama musical using the method from Bertold Brecht will flavor the storyline during the show. The purpose of using the method of Bertold Brecht is to make the audience aware and give a break so that the audience can immediately digest the content delivered in the show. This method is in line with the desire of the worker who has entertainment concepts in the show.