Модерні та джазові стильові тенденції у творах сучасних українських композиторів з голосом

Abstract

У статті досліджено використання модерних і джазових стильових тенденцій у творах сучасних композиторів для голосу. Розглянуто приклади вокальних творів та інструментальних композицій з голосом М. Скорика, І. Карабиця, О. Козаренка, С. Азарової з позицій модернізації музичної мови. Охарактеризовано, як сучасні українські композитори трактують унікальний тембр людського голосу та гнучкість підходів щодо його використання.

В статье исследовано использование модерных и джазовых стилистических тенденций в произведениях современных композиторов для голоса. Рассмотрены примеры вокальных произведений и инструментальных композиций с голосом М. Скорика, И. Карабица, А. Козаренко, С. Азаровой с позиций модернизации музыкального языка. Охарактеризована трактовка современными украинскими композиторами уникальности тембра человеческого голоса и гибкости подходов его использования.

The meaning of modernism in the aspect of history remains one of the most contradictory and ambiguous categories of the modern art. From the beginning of XX century in the art of European composing schools the outgoing tendencies from classical principles of forms creation is visible, tonal principle organization of musical thought, the new approaches of timbre interpretation and neoteric composing techniques are being implemented. A treatment of A. Berg of the human voice as special timbre made up composer an idea of mainly orchestra compositions, in which vocal party has a meaning of one of the most characteristic instrumental timbers (author arrangement for the voice and fortepiano of the second part chamber concert “Schliesse mir die Augen beide”, suite for soprano and “Lulu” orchestra. Dodecaphony usage, which in the work with thematic material transformation became as a base of A. Schönberg art skill (“Herzgewächse” for the voice, accompaniment of clasp, fisharmony and harp), melodeclamation “Moon Pierro”, the song to the words of J. Huringer, G. Keller, J. Hart, F. Nietzsche, H. Conrady and others. Showing a tendency of interest to philosophical comprehension of being and disappointing at way out of contradictions of the real world, modernist receptions as instruments of musical expression became a big importance in the composers art of the second part of XX century. New possibilities opened electronic voicerecording devices, and as a result of which became an experimental musique concréte appear, in the essence of basis of which is replacing of music sounds by different acoustic and noise effects of the environment (art of P. Schaeffer, P. Boulez, K. Stockhausen). Together with modernist tendencies and styles development an important role played an intensive spreading of jazz and penetration of system elements of its musical language into European composing art. As a result of activation intercultural cooperation of jazz the instruments of music created an appearance of new style dimensions, an important among them became the syncretism of national folklore and jazz. An author of pop songs M. Skoryk renewed radically a tradition of soviet lyrical song. Using the rhythms of twist, boogie-woogie, swing, rock-n-roll, bossa-nova, ragtime, saved national features of Ukrainian singing. The styles assortment of its music shows the constant experiments in the branch of postmodernism tendencies and overcoming contradictions between modern and classic. Combining of folklore origins and elements of jazz music and funk presents songs of V. Ivasyuk. Universality of music language of I. Karabyts poems appeared in synthesis of different style tendencies – neoclassic, neoimpressionism and jazz vocabulary. As one of the most perfect instruments interpreting as human voice O. Kozarenko. Reverting to the poetry of S. Maidanska, M. Tomenko and others, composer uses different vocal techniques from bel canto to sprechstimmer. A voice as instrumental timbre use modern composers of Ukraine in chamber-instrumental music, arising this genre up to the highest level of development, as an example – experimental poem “Sounds from the Yellow Planet” by Odessa composer Svitlana Azarova, created for flute, clarinet, bassoon, percussion, fortepiano, contrabass and record of virtuoso of throat singing (the poem created with target definition of performer – tuvin shaman, healer and master of throat singing Nikolai Oorzhak). Including the voice into score of poems of instrumental parts becomes a constant feature of flexibility of composers of XXI century in transforming approaches about its usage: from traditional timbres to the infrequent (contralto); from traditional classical ways of soundbuilding – to specific technique (sprechstimmer) and exotic (throat singing of shaman).