Еволюція засад образно-стильової взаємодії на осі «Схід-Захід» у різних жанрах музичного мистецтва Європи ХVII–ХХ століть

Abstract

У статті простежується еволюція засад образно-стильової взаємодії на осі Китай – Європа у музичному мистецтві ХVII–ХХ століть. Виявлено, що процеси залучення до європейського музичного мистецтва зовнішніх ознак стилізації в умовно-екзотичному стилі, датовані епохою рококо, доповнюють в подальшому послідовні спроби перенести у європейське музичне мистецтво категорії програмності, образності, тембральної семантики, структурно-композиційних, фактурних та ладових експериментів, вивчення автентичного фольклорного матеріалу й давнього поетичного мистецтва у вільному та професійному перекладах через осмислення поетичного мистецтва династій Тан та Юань – у музичносценічних, хорових та камерно-вокальних жанрах.

В статье исследована эволюция принципов образно-стилевого взаимодействия на оси Китай – Европа в музыкальном искусстве ХVII–ХХ веков. Выявлено, что процессы приобщения к европейскому музыкальному искусству внешних признаков стилизации в условноэкзотическом стиле, датированных эпохой роккоко, дополняют в дальнейшем последовательные попытки перенести в европейское музыкальное искусство категории программности, образности, тембральной семантики, фактурных и ладовых экспериментов, изучение автентичного фольклорного материала и древнего поэтического искусства в свободном и проффесиональном переводах через осмысление поэтического искусства династий Тан и Юань – в музыкально-сценических, хоровых и камерно-вокальных жанрах.

It is important that in Ukrainian musicology the intercultural issues between China and Europe are considered according to the vision of the large group of Chinese experts educated in the European environment, able to monitor these processes in direct contact with them. The perception of Chinese culture in the music art of Europe has a long history having several stages of evolution. They differ in the levels of convergence of these distant cultures: aesthetics and style of reflecting generalized images of China by means of conventional exotic and Oriental programs, the methods of interpreting the poetic art and musical intonation. In the European musical art of XVII–XVIII centuries Chinese subject area is presented due to the spread and establishment of an autonomous branch of rococo style entitled Chinoiserie based on the use of motifs and stylistic devices of medieval art. It became the kind of Orientalism and, more broadly, exotic. It is exhibited in the pieces of music associated with Chinese imagery, especially in musical and theatrical genres and in instrumental pieces intended for theatre with the embodiment of an exotic convention. Stage compositions – Opera (comic and serenades) and ballets – are the most numerous in the musical art of this period, and most of them are transient phenomena on European (especially French) stages. In the ХІХ century, the conventional styling is complemented by the citation of authentic musical materials (K. Weber, C. Czerny). If for Europe after its aspirations to realism and Romanticism of New Age the conventionality and symbolism of the ancient Chinese traditions was a renewal, in the Chinese musical art there was a deep interest in the peculiarities of European classical music, that is, from realistic to romantic art areas. In the compositions of the late XIX and early XX century the system of signs or some symbolic codes was formed in the mind of the European listener, which embodies the art of China, reflecting the admiration for the poetry of medieval Chinese artists of Tang Dynasty, the European artistic community became familiar with due to a free poetic translations in French, German, Dutch, English, Russian, Ukrainian and other languages. This was the basis for the formation of numerous chamber vocal (for voice and piano, chamber ensemble or specific orchestra) and choral parts of different compositions. The first half of ХХ century was the new significant phase of the convergence of cultures under the influence of ideological aspects of ancient Chinese philosophy as a conceptual framework of the creative process in the experimental search of representatives of European musical avant-garde, as well as the appearance of the experimental vector in the structure, shaping principles, selecting composer techniques, tonal dramaturgy, interval relationships. In the middle of the ХХ century there is a consistent reference to the folklore thematic material in different genres of the musical of artists in Europe. The landmark of this period is the growth of chamber vocal compositions of the genre on the basis of professional poetic translation, where the level of understanding worldview, aesthetics and expressiveness becomes much deeper. With the natural growth of interest in the study of authentic intonation material needed especially in pedagogical and performance practice of the musicians from China, who are gaining their education in the educational establishments of Ukraine, we can notice the appearance of a number of arrangements of Chinese singing folklore pieces for a choir, vocal ensemble, bandura ensemble and other performing groups made by Ukrainian artists.