DOI: https://doi.org/10.32461/2226-3209.3.2016.138985

Specific features of the composer’s interpretations in the trilogy of Shan Dei’s vocal ballads after Lu Sin’s prose

Khe Tsao

Abstract


Purpose of Article. The goal of the article is to find out the specific features of the composer’s interpretations in the trilogy of Shan Dei’s vocal ballads after Lu Sin’s prose. Methodology. The research is based on the method of the comparative analysis, determined by the task to find out the specific characteristics of the composer’s interpretation of the literary composition. The author also uses the method of the analysis of genres and styles. Scientific Novelty. The scientific novelties of the research are the consideration of the genre specific features of Shan Dei’s vocal ballads after Lu Sin’s prose; the interpretation of the literary original text in the music-word composition. The existence of two phases means the leading part of the composer’s interpretation of the composition before its republishing. Lu Sin’s stories are "wrapped" into the miniatures by Sho Un Chao. They save the memory of the monument icon during the deactualization of the fibulas basis. The unity of two subjects appears. They are a writer and a composer. The unity of the vocal circle (called "Lu Sin and his heroes") is proved by its ballads which are characterized by features of portraits and plot lines too. The first two ballads are the compositions after Lu Sin stories and the last one is the anthem for the writer. The author exchanges the main characters with the famous writer. The madness, represented in a "hidden" way in the music portrait of Hian Lin, comes true in the ballad, which presents the character of Ai-Cew and attends the culmination. In the final scene, Lu Sin plays the role of the fighter against the craziness of the society. The ballads are united by the topic of "the hero and people around him" – form the fatal indifference until the death of the main character of the first ballad. Showing the aggressive behavior of the crowd in the second ballad, Shan Dei describes the adoration of the Lu Sin as the "national soul" of China. Conclusions. Shan Dei’s vocal ballads have such specific features as an opera, theatrical character, out-traditional approach to the semantics, art interpretation of the philosophical conception of the "silent beauty" in the ballad "Hian Lin", comic context of in the "Ai-Cew", anthem motives in "Oh, Lu Sin!".

Keywords


two phases of the composer’s interpretation; a ballad-portrait; a vocal circle; Chinese aria-buffa; an anthem-single style