Мiф-ритуал у формуванні колективних музичних актів як джерело хорового гетерофонного співу

Abstract

У статті простежуються міфологемні важелі, що властиві музично-хоровій творчості, на прикладі всеохоплюючого й фахового (шкільного) принципів творення та з виходом їх на українські культурні традиції. Міфологічне тло мислення авторів висвітлено в «двоїстості-множинності» альтернативних смислів, вкладених у виразовість мелодичнохорових побудов.

В статье прослеживаются применительно к музыкально-хоровому творчеству мифологенные основы всеохватывающего и профессионально-«школьного» принципов в исторической сменности их бытия и с выходом на традиции хоровой культуры Украины. Мифологический фон мышления авторов проступает в «двойствености-множественности» альтернативных смыслов, вложенных в выразительность мелодически-хоровых построений.

In article are tracked with reference to music-choral creative activity mythological bases of all embracing and professional-«school» principle in history rotation of being and with output on traditions of the choral culture of the Ukraine. The mythological background of the thinking of the authors oozes in «dual-multiplicity» alternative of senses, embedded in expressiveness of melodychoral structures. The culture of the choral singing forms primo impulse of music history and that are inexhaustible for exploratory activity. In base choral art lies the mystic act «rhythm of consciens» (on L. Gumilev) of individuals, which join to ideal ability «gaining of tоnes» and harmonic-interval relations. From first steps of cultural being of mankind these strictly human abilities gravitated to abstractions tоne relations, linked with gratis god, Christianity in european world promoted the production cantilene of vocal as «to sing away» of vowel, prototyping in «chain breathing» continuity to Eternal life and Animating, which withstands the completeness in process of the separate respiratory acts workaday phono-expression in speech. V. Toporov, defending primocultural unity of myth-word-ritual, pointed to heterophony spontaneity of overpersonal of phonoexpression, which historically-practically became the first step of the ascent to height of the abstractions of the choral singing at a rate of «heterophony of second order» in the manner of interval fixed parallelism voice in miscellaneous register. In given work chief is in concreteness «gaining the light-fire» to interval-tоne relation on background of heterophony «first-order» that is to say her primitive discovery in «inexact unison», when human collection sing persons is interested in concord rhythmical fluctuations of tоnes – in practical person of the work on music occupation with beginning, in professional studio of the withstanding the harmonic foundation of polyphony of voice, finally, in artistic creative activity, which prototypes the specified processes «lighting up», when from nonexistence noise-sound effort is born intervals-аccоrds of Concord in her symbolic singleness amongst varieties casual sounding and noise. And material, illustrating specified position, appears the long enumeration a composition of A. Borodin, I. Stravinskij, K. Orff, G. Sviridov, Y. Xenakis, K. Penderecki, V. Silvestrov and many other master. Itself consonance – that this from spiritual music, which symbolizes the Spirit, personifying abstraction, which has not a physical equivalent in natural encirclement of the people. «Consonance harmony» of church singing on poly voices accordingly «legend» presents itself heterophony of second phase. The bugging of the works D. Bortnjanskij, M. Berezovskij, representatives «west» directions in russian church singing, in comparison with composition for church P. Chesnokov points to «harmonic» thinking first, beside which headwaters of the mеlоdy-аccоrd structure emerges the formula of the collation T – D then the second gravitates to tonic as principle of the thinking. In аccоrd-harmonic expression this was a way to harmonious «mоnоfunctional complicated tonics» (we shall compare to «complex tonic» of the mоnоfunctional system Y. Holopov) then in tuneful projections we observe deliverance of the sequences on introductory tone in «clean melodics» (B. Asafiеv names «strict style in melodics» – «melodics-pentatonic» that is to say completely saved from sequences on introductory tone). As a whole contributing the developed harmonic functional system in melodics with turn on introductory tone liberates in her individually-emotional tone – an alien church status. «Coagulation» of harmonic «luxury» in mono-functional vertical XX century if the last was realized avoiding «emancipation of the discord», as this presented P. Chesnokov in church chant, but «primitivists» from K. Orff before G. Sviridov and A. Panufnik, in mundane sphere, – brought on «over-personal» lyric poet, which manifestation find beside «objective» lyric poet S. Prokofieva. But overpersonal lyricism of named аuthors had a direct entailment in choral singing.