Alleluia of ecstatic singing in traditions hymn-glory music on facet of new and the most latest time

Abstract

The purpose of the article - select in music galley of XIX and XX century complex of glorify-ecstatic expres- siveness, declared religious philosophy-aesthetics at the end ХІХ century and which has obviously discharged the clas- sicist of theatric music dramatic effect, discharged primate a sоnаta forms in structure and semantic multiformity of expressions as a whole. The methodology of the work - culturology approach, as he formed in history science and sci- ence about art in works L.Gumilev and A.Losev, in semiotic oriented theological development about.P.Florenskij, as well as in linguistical-semiotic oriented musicology of B.Asafiev school in Ukraine. Also methods analytical, histori- an-descriptive, style-comparative occupy the essential place in work. The scientific novelty of the study is determined by originality to the theoretical idea to stipulate concept of alleluia singing-Transfigurations on Florenskiy of incidence hymn-glorify sounding to the music of the epoch of the symbolism - in counterweight of support to music drama/music dramatic art of New time. Conclusions. Summing up said about hymn-production in music world in threshold and at the beginning initially XXcentury in manifestation "theories of аlliluia" as entailments of the image of overcoming- Transfigurations note - an ecstatic expressiveness to hymn creative power in music works, which substitute the facility an art by light of the Transformation tragedian-dramatic voltage theatricality in сlassic music of New time, definable attention composer to plot-image holy history, апогеем the manifestations which emerge mystery-worldwide actions, marked by A.Skrjabin and C.Ives. Also, we point to Christian-base stimuli to the concept of A.Skrjabin and C.Ives, which personify that "voltage across pain" religious ecstasy that, on Florenskiy, defines: Transfiguration to weaknesses of the sob - on the strength of and joy of Laud. That is caused to life new monumental type of the array, which was ab- sent in epoch of subjectivism searching to the romanticism, as well as is defined interest musicians to special sort scale one-picturesque compositions, which poly-themes saturation is covered by semantic likening to their content-richness in delight of the Joining. Do stating voltages in the ecstatic effect of the Transfiguration of the transition to weaknesses on the Strength of, which is defined "emancipation of cоnsоnаnсe" (see this term beside D. Androsova) from the disso- nance thickening. As example cite on straightening Skrjabin its systems of the expression of the ecstasy by means of the transfiguration of expressiveness to "weakness of the breath" in "chord of Tristan" and "tired archaic type of semitones" in setting-strange images of heroines to Debussy.