17.00.00 Art science
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ROLE OF AN INTERTEXT IN D. D. SHOSTAKOVICH’S OPERA “GAMBLERS”
DescriptionWe investigate D. D. Shostakovich's opera “Gamblers” is in the context of an intertext. In this opera, the psychological drama develops; this complex artistic task is solved largely thanks to masterful introduction of a variety of intertextual links. “Gamblers” is an example of recitative opera with an intense, “passionate” vocal style and flexible technique ranging from secco to a gushy accompagnato. The text directs melodic development and intertextual links. The appeal to a method of the intertextual analysis opens interaction between “Gamblers” and their dialogue with musical classics and other Shostakovich’s works. Own creativity and the whole layer of classical works first of all acts as donor texts: operas style bel canto, opera-buffa, D. Verdi’s opera “La traviata”, Russian recitative opera – A. S. Dargomyzhsky, N. A. Rimsky-Korsakov, M. P. Mussorgsky, works by A. P. Borodin, P. I. Tchaikovsky, and of painter and literary texts – P. A. Fedotov, A. S. Pushkin, L. N. Tolstoy, F. M. Dostoevsky. The intertextual artistic methods, enabled by Shostakovich express a complex psychological content
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ROLE OF SEMANTICS IN MUSICAL THEMATIC OF THE CHINESE CONCERTS FOR THE PIANO WITH ORCHESTRA
DescriptionThe Article is devoted to substantial aspects of the Chinese piano concerts. As the carrier of sense, semantics is investigated. Examples of semantics are given from three program concerts: "Yellow River" Yin Chengzonga and creative group – Chu Wanghua, Liu Zhuang, Sheng Likhoun, Shi Shuchen and Xu Feysin, "The mountain wood" of Liu Dunan and "Beauty of spring" of Du Mingxin. One of important typological features of the Chinese piano concerts is caused by the appeal to model of the European classical tool concert in respect of interpretation of a form, performing structure, a role of the soloist tool, its ratio with orchestra, etc. All the composers initially sought to embody national musical contents in the European genre. It is implemented first of all through a semantic complex. Proceeding from hierarchy of the semantic importance, it can be classified as follows: 1) semantics of images of the nature, 2) semantics of sounding of national tools, 3) semantics of melodies, popular in the Chinese environment, 4) genre semantics, 5) semantics of means of musical expressiveness. Introduction of semantics to musical language bears communicative function. The important value had also that presence of a semantic range at the art text is natural to consciousness and art perception of the Chinese
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THE SYMBOLISM OF ORNAMENT IN RUSSIAN FOLK COSTUMES
DescriptionThe article reveals the meaning of several Slavonic signs and symbols on the embroidered ornaments of Russian folk costumes and objects of domestic decor. The role of decoration of embroidered national costumes traces in the transmission of values and meanings of ethnic culture. Perpetuation of national cultural traditions in Russia
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V. SEROV’S WORKS IN HIS CONTEMPORARIES’ LITERARY CRITICISM
DescriptionThis article focuses on the early literary works dedicated to the cultural heritage of the artist, as well as on the peculiarities of the approaches used by the researchers in their studies
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THEATRE AS A SPECIAL TYPE OF COMMUNICATION
DescriptionThe article deals with the problem of the theatre functioning in the communicative area. It has the analysis of the elements belonging to the structure of the communicative act, their complexity and interrelationship
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THE PHENOMENON OF ART STYLE AND ITS STUDY IN CULTURAL TRAINING COURSES
DescriptionIn this work a survey of different approaches to determination of the concept «art style» is made, principal supporting positions of interrelation of styles and forming of new styles and directions with accent on expressive means system analysis are also considered
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CHOIR THEATHRE: EXPERIENCE OF COMPREHENSION
DescriptionIn the center of the article, there is the problem of establishing a new socio-cultural phenomenon of choral theatre. Because its borders were fluid and blurred, the epicenter of the search is genre mixing, which involved the drama theatre, academic and folk choral performance, musical. Stage movement is used particularly active in the works of folk themes. One of the simple shapes that meet the needs of visualization in music is performance in a "media escort." Close border of theatrical and choral genres with the actual choir is often manifested at the level of the dual nature of the performing life works: in a traditional concert performance and in staging