DOI: https://doi.org/10.32461/2226-3209.1.2018.160511

THE STYLISTIC OF SYMBOLISM IN COMPOSER- PERFORMING PRACTICE AT THE END OF 18TH AND THE BEGINNING OF 19TH CENTURIES

Anton Trofimov

Abstract


The purpose of the research. The study is focused on the disclosure of the role and identification of stylistic particularities of the symbolism in the composer-artistic practice at the 18th – 19th centuries. The positions of intonational approach of Asafiev’s school and elaborations of his followers such as Polish (R. Ingarden, Z. Lissa, etc.) and German (D. Kamper, H. Steger, etc.) musicologists, became the methodological base of the study. The musicologists given above were able to combine the current stylistic position and pre-symbolic trends. Respectively the works that may shed light on the methodology of the symbolism at the musical -instrumental context were used in this study. The scientific novelty of this study lies in accentuating the stylistic features and the role of the symbolic and pre-symbolic characteristics of the instrumental piano specificity at the context of the composer-performing practice at the turn of 18th and 19th centuries. The conclusions. Genre preferences in art and in the first place music are determined by pre-symbolic characteristics of the early romanticism for example: the religious symbolism, which evolved under the influence of the “celtomania” and offered the nocturne as an image, which combines the druistic cult of the Moon and the early Christian psalmody; the interest to the topic-signs, genre-signs including genre typologies of the prelude-etude, which in romantic version of the aesthetic “Rapture” captured something, that was considered an ordinary, imperceptible in the aesthetic classification, adopted outside the romanticism; the German "Biedermaeier" is characterized by its attraction to the expression of the “empire style in the chamberness” (provoked to find the art monumentalism in “small” genres like a prelude-etude-nocturne etc.)


Keywords


symbolism; romanticism; impressionism; the composer-performing practice

Full Text:

PDF

References


Андросова Д. Мінімалізм в музиці: напрямок і принцип мислення: автореф. .. .канд. мистец. Київ, 2005.17 с.

Асафьев Б. Музикальная форма как процесс. Ленинград: ГМИ, 1963. 375 c.

3. Ботвінова Д . Образний стрій та музична інтонація вокальних циклів Ф.Шуберта, Р. Шумана, Р. Ваг-нера, Г. Малера: автореф. дис. ...канд. мистецтв. Київ, 2001. 16 с.

Кассу Ж. Энциклопедия символизма. Москва: Республика, 1999. 412 с.

Концевич И. Стяжание Духа Святого. Киев, 1990. 52 с.

Уилсон-Диксон Э. История Христианской музыки. Ч. І-ІV. СПб.: Мирт, 2003. 416 с.

Языческие божества Западной Европы. Энциклопедия. Редакция и предисловие К. Королёва. Москва: ЭКСМО, 2005. 797 с.

Götz F. Die Zauberflöte in der Inszenierung Walter Felsensteins an der Komischen Oper Berlin 1954. Berlin: Henschelverlag, 1958. 212 s.

Pütz A. Von Wagner zu Skrjabin. Kassel: Bosse Verlag, 1995. S. 237.

Androsova D. Minimalizm v muzytsi: napryamok i pryntsyp myslennya. Avtoref. .. .kand. mystets. Kyyiv, 2005.17 s.

Asafiev B. Muzykal'naya forma kak protsess. Lenynhrad: HMY, 1963. 375 c.

Botvinova D. Obraznyy striy ta muzychna intonatsiya vokalnykh tsykliv F. Shuberta, R. Shumana, R. Vahnera, H. Malera: Avtoref. dys. ...kand. mystetstv. Kyyiv, 2001. 16 s.

Kassu Zh. Entsyklopedyya symvolyzma. Moskva: Respublyka, 1999. 412 s.

Kontsevych Y. Styazhanye Dukha Svyatoho. Kyev, 1990. 52 s.

Uylson-Dykson E. Ystoryya Khrystyanskoy muziky. Ch. I-IV. SPb.: Myrt, 2003. 416 s.

Yazicheskye bozhestva Zapadnoy Evropi. Entsyklopedyya. Redaktsyya y predyslovye K. Korolova. Moskva: EKSMO, 2005. 797 s.

Götz F. Die Zauberflöte in der Inszenierung Walter Felsensteins an der Komischen Oper Berlin 1954. Berlin: Henschelverlag, 1958. 212 s.

Pütz A. Von Wagner zu Skrjabin. Kassel: Bosse Verlag, 1995. S. 237.