Ораторія як жанрово-смислова модель світу у західноєвропейській традиції

Abstract

У статті викладено когнітивний досвід моделювання структурно-семантичного інваріанта жанру ораторії. Його сутність складає триєдність біблійного сюжету (символіки), онтодіалогу (Богоспілкування) та сакрального часу (Вічності). Розглянуто втілення структурного хронотопу на прикладі «Іллі» Ф. Мендельсона в аспекті спадкоємності західноєвропейської традиції жанру.

В статье изложен когнитивный опыт моделирования структурно-семантического инварианта жанра оратории. Его сущность составляет триединство библейского сюжета (символики), онтодиалога (Богообщения) и сакрального времени (Вечности). Рассмотрено воплощение структурного хронотопа на примере «Илии» Ф. Мендельсона в аспекте преемственности западноевропейской традиции жанра.

At the turn of the third Millennium the oratorio genre is a unique object of musical culture: in the context of semiotic descriptions of its various functions, it is a sign system, mental structure which holds sacred the memory of the genre of communion with God. This article will be expanded features textured organization in the spatial-temporal parameters (or, in other words, the music chronotope in the oratorio genre Western culture. As for musical chronotope of the oratorio genre studies have not been conducted, which determines the relevance of the chosen theme. In addition, in musicology actively studied almost all the conceptual genres, but the archetype of the oratorio as a historical and cultural phenomenon has not yet presented for a number of reasons. Discuss the choice of material research, which is still limited to the oratory St. Haydn and F. Mendelssohn, due to certain tasks: 1) identification of historical typology of music history chronotope of the genre from the Renaissance through the classicism to romanticism of the 19-th century; 2) to trace genre axis of the oratorio in the spatial-temporal parameters, and the function textures in it. Thus, the purpose of the article is to identify on the basis of studying the historical development paths oratorio through the analysis of musical chronotope and genre paintings in the world, which reflected a man of Faith (homo credens, «inner man»). So, musical chronotope of the oratorio genre is the unity of spatial and temporal parameters aimed at expression of a certain artistic sense. It is expedient to consider all concepts related to holistic organization of the genre, comprehensively, because such universality allows to reach deeper into the essence of the genre and its spatial-temporal organization. Hence the concept of musical chronotope is understood by us as a special form of existence of the oratorio genre in a historical context, that is, as a phenomenon of epochal style (one side), and on the other, as a synthesis of genres signs of spatial-temporal organization. History and music chronotope oratorio assumes evolutionary continuity of the genre – the procedural act of the live performing of Genesis where every epoch has its own picture of the world, way of world perception, and therefore their own sense of time. Music chronotope of the oratorio genre in its Mature form (works by Handel, Haydn) is duality, that is, the differentiation on extra – and intragroup. Under extrachromosomal refers to the real, immediate sound oratorio in its spatial-temporal parameters: for example, temple architecture, the Cathedral with a special acoustic conditions and spiritually-sacral atmosphere where dissolves the sense of real time and Eternity reigns. Intra-chronotope is subordinated to the logic of compositional thinking and its style system based on the composition and dramatic features.