Композиторський та виконавський фольклоризм: термінологічний зміст поняття

Abstract

У статті проаналізовано термінологічний зміст поняття “фольклоризм” у контексті сучасної етномузикознавчої науки, розглянуто важливі аспекти функціонування фольклоризму в творчості зарубіжних та українських композиторів. Охарактеризовано риси композиторського і виконавського фольклоризму у вітчизняній музичній культурі. Зіставлено зарубіжні методи композиторського фольклоризму в музиці Б. Бартока та І. Стравінського з методами переосмислення національного фольклору в творчості Є. Станковича.

В статье проанализировано терминологическое содержание понятия “фольклоризм” в контексте современной этномузыкологической науки, рассмотрены важные аспекты функционирования фольклоризма в творчестве зарубежных и украинских композиторов. Проводится анализ композиторского и исполнительского фольклоризма в зарубежной и украинской музыкальной культуре. Сопоставляются зарубежные методы композиторского фольклоризма в творчестве Б. Бартока и И. Стравинского с отечественными методами переосмысления фольклора в творчестве Е. Станковича.

The article tasked to identify terminological meaning of folklorism in the context of modern ethnomusicology, to consider important aspects of operation folklorism in the foreign and Ukrainian composers art. In the article is analyzed the composer and performing folklorism in the Ukrainian music culture. In the research were analised foreign methods of composing folklorism in B. Bartok and I. Stravinsky music and Ukrainian methods of folk rethinking in Ye. Stankovych music style. The research found a need of a new methodology of analyzes folklorism because layering of term. In the article outlines levels of performing folklorism and actual problems of modern music culture in the context of preservation the folk tradition in the process of performing interpretation. In the article are given already existing definitions of performing folklorism and, as a result, appears my own characteristic of term “performing folklorism”. This research describes the important role of the folk singing manner and its regional features, outlines important meaning of the folk song. Because the folk song is a basis of composing and performing art. In this article is analyzed music style of famous artists, which actively used melodic features of folk songs in their music art. Paying attention to the diversity of musical expression of their music: melody, harmony, timbre, texture, structure. In this research are characterized the lines of a musical language: genre, style, modal and colour. The folklore by artists depict a new semantic, artistic and imaginative potential of the composer folklorism. The folklore theme expressed in the musical masterpieces of famous foreign and Ukrainian composers in the XX century. The folk traditions enriched artistically-vivid and musical expression maintenance of composer’s art. Despite the fact that they belong to different national composers schools, each of other has own unique composer style. All of these artists used the elements of folk music and transform them in their masterpieces. Also the research outlines deep spiritual and intellectual potential of national tradition, which the scientists are actively investigating. Because the folklore is universal ethnic code which needs knowledges of archeology, geography, psychology, history, linguistics, ethnology, religious, philosophy, computer science, cybernetics, musicology and folklore to understand it. The process of rethinking folk elements in a music is the main measure of development individual composer style. It process combines the tradition and the innovation. These elements characterize neofoloklorism as important music style in XX century. The review of Bela Bartok opera style presents combination of Hungarian folklore intonations with the modern composer’s tendencies. This intercommunication gives to the opera music novelty and freshness, attributing the opera “Blue Beard’s Castle” to the best masterpieces of the world neofolklorism. Also neofolklorism distinguishes the individual music style of Ihor Stravinsky. In the ballet “Rite of Spring” composer has used archaic layers of Slavic folklore. The innovation of the ballet mainly appears in a rhythmic factor that plays conceptual position in the music of Stravinsky. Stankovich Folk opera “When the fern blooms” presents neofolklorism features in the Ukrainian opera’s genre. It is a new stage of the Ukrainian music art development through rethinking national traditions. Stankovich innovations appear in folklorism of the musically-poetic opera’s material. For the underlining folk colour of opera the composer entered the authentic singing of choir, and in the orchestral score entered the timbres of folk instruments. Besides Folk opera “When the fern blooms” belongs to the vertex phenomena of the Ukrainian neofolklorism, deservingly written into the context of the European modern tendencies.