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Culturology - Gritsenko TB

Musical culture

Foldable and super-invisible buv rozvitok muzichnoy culture XX stenitsya. Yak і інші вид мистецтва, музика цього часу created the art works, використовуючи tradіchіїії інціції інць та сміливо вдаючись до новаторських експериментів. Same on the application of music jasarkovo pomitne formovaniya masovoi kul'turi, oriennovanoi on the industriya rozvag.

On the cobble of the twentieth century. Before the composers, yak і before the previous mitsyami, posed the problem of the image of the dynamism of the epoch, of the social problems, of the novelty of the virazhalnyh zasobiv and the peninsula, of the new forms of the vividness of the living material. Unsuspecting of innovation, the music of the mystery of the twentieth century. Povyazane in the classical music of the twentieth century, incl. With romanticism and ideology.

The traditionalism of that romanticism was sold by the Austrian composer Gustav Mahler (1860-1911), which has its own creative abilities in jasparovo viraziti socialism of people's sufferings, conflict of mitsya and suspilstva (symphonies, chorovі tanstrumentalny).

Romantic landscapes of power were created by S. Prokofiev, D. Shostakovich, B. Bartok (1881-1845), P. Hindemita (1895-1963). Їх музична спадщина, гуманістична for its сутністю, approve spiritual strength and beauty of human beings. The musical mystery of the twentieth century preceded the cultivation of traditional national folklore, to the synthesis of popular and creative folk music (B. Bartok, Ya.Sibelius, K.Shimanovsky, V.Lyutoslavsky).

Viniknuvshi in the twentieth century, in the first half of the twentieth century. To develop an impressionism . Composers-artists, artists and artists, to bend before transmission, without vigilance, art, asocialism, subordination, psychology. K.Debussi (1862-1918), the founder of this world, one of the most influential musicians of French and soviet music at the turn of the 19th and 20th centuries, vvazhav, scho sama beauty of nature zdatno zbuditi creativity of the composer's fantasy. Він виявляв у музиці нові можвності для передачиі витончених відтінків різноманітної палітри mood people and navkolishnyo nature, creating the melodic nature, expanding the sphere of musical rhythm, harmony, orchestration (symphonic music: "Nocturni", "Sea", "Iberia", "Khmari"; Vocal works: "Mandolina", "Misyachne svitlo", "In the Garden" tochno). Creativity K.Debussi (composer, диригента) has cured a great vliv on сущників.

Impresionisty zvertalisya up to the ancient mythology, national musical folklore, medieval legends, exotics Skhodu ("Ipanska rapsodiya", ballet "Dafnis i Chloya" by M. Ravel (1875-1937), "Myfi", "Masks" by K.Shimanovsky (1882- 1937).

In the first ten years of the twentieth century. Z'yavlyayutsya ekspresionizm, scho pevnoyu mіroyu protistovav zasobam muzichnoy vizraznіі імпресіоністів. Spotchatku tse vymnik strait vinikat literaturna ta izvestvorchomu misterstvі Nimechchini ta Austriya, and zbom nabuv shiroynnya muzitsy. Zhakhi dvukh svitovikh vyehn, motivy protistu proti suhasnoї дійсності, криза свідомості інтелігенції, ідейно-естетичні і психологічні Conflicts of the Epoch, transfer subektivnogo стану - все це намагаються відбразити композитори-експресіоністи. Експресіонізм mav tendentіyu to vidraznennya yakihos явищ, виражав різні эмоційні стани людини, настроь жаху, відчаю, безсиля. The founder of this was Arnold Schoenberg (1874-1951) - Austrian composer, диригент, teacher. A.Shenberg namagavsya as much distance as possible in zvichaynyh klassichnyh muzichnih zabobov, vid tonalnogo principle organizatsii form. For the motivations of melody in his creations zastosovuvav dodekafoniyu (dvadnadtsyati sonochka), vikoristovoychi all nabir sound in chromatic gami. For the music of ekspresionistiv characterized by a variety of music, melodious lanterns, rendezvous sounds, vichorennya people's voice yak music video. A.Shenberg in melodeklamatsії "Місячний П'єро" (1912), opera "Mosei i Aaron", музичній драмі "Щаслива рука" вперше в музичній історії enter notations спів-декламацію, натуралістичні вигуки, різкі перепади звучності. Після Друї світової війни A.Shenberg write, write about evil and violence ("Ode to Napoleon" on D.Bairon's wives, "Уцілілий з Варшави".) Cantata "Уцілілий з Варшави" (1947) - rozpovid one of them, having survived the tragedy Warsaw ghetto in the hour of fascist occupation. Trivozhny tuneless, neminuchoї deaths the author transmits by means of jokes, typews for exclusionism - zhorstkim, rizkim soundings.

Експресіонізм of characteristics і for the creative work of Alban Berg (1885-1935) - uchnya A.Shenberg, hocha vin pevnoyu mіrou zberіg zv'jazok z traditsyami klassicchnogo misterstva. For the creators of the composer, the characteristic features of the intonation, close to the imaginative, are emotion.

Actually, beyond the limits of exclusivity, the creative work of Anton Weber (1883-1945) - an Austrian conductor, teacher, composer, a heavy burden to the abstractions of the past, emerged from the specific concrete image (the cantata "Svitlo Ochie", vocal and the instrumental music). Пишучи вокальні твори, звертається до німецької поезії (JW Goethe, R.Rilke). In the technical creations of pragane before the laconic, follow the repetition of the musical composition.

At the first half of the XX century. Nevertheless, neoclassicism, which protested the modernist pokushki, selling the rozvivati ​​kraschі traditional musician misterstva vremennyh epokh, namagavsya vіdіti vіd gostrikh problems сучасності. The forefathers of the world expressly expressed interest to national folklore and creative works of the past (Symphony Symphony by S. Prokofiev).

The neo-classicist for Nimecchin Buv was the composer, the dirent and musician theorist Paul Hindemith (1895 - 1963), for which the creativity of JS Bach (opera "Saint Susanna", "Artist Matisse", "Harmony svitu", "Demon" "," Chotiri temperament ", symphonic and chamber music).

The Russian composer І. Стравінський takozh zvertavsya to the traditional інструментальноїї culture of the past, перш за все, творкості Й.С.Баха. Neoclassicist І.Стравінський поеднував zbudbitki svoїh pogodnikіv z nainovshimi dosyagnenni muzichnoi vizraznosti (ballet "Pulcinela" on those Pergolezi, "Pocilunok fairy" on those P. Tchaikovsky). Antichnyi plot ("Tsar Edip", "Orpheus", "Persephone"), the composer is vikorostvuє for vtilennya іde XX century.

At the neoclassicism's boast, the whole thing is expanded more than the citation of the musical material of the past. Neoclassicism fostiv svetrennyu bagatooh mystic masterpieces, wiklikav novir interest to the musical culture of the past.

Have a friend of the XX century. Nabuvaє poshirennya modernizm , scho namagavsya vidmezhovuvatisya vest esteticnih norms and traditional classical mystery. Composers shukayut novy zasobi vizraznosty, vvazhayuchi, sho novi іdeї mozhna vyshliti lishe z dopomogoju novi zasobiv i іксперипериів.

One of the lines of modernism was so called specifically music, yaka zamililo music with specific sound manifestations zhittya - noises, acoustic effects. With the music itself, the composition itself was stitching a note on a set of red noise, the sound of nature, a human voice, and everything was tampered with, vikoristovochchi nakladennya, prikorennya chi povvilennnya plvki, prokruchuvannya її in a rotary order (P. Bulez, O. Messian). The forefathers of the whole team danced, but maibutné sama for such music, the wit, the dumku, the concrete music cries in front of the composers for great soundness and rhythm. Specifically, the music has been vikoristovuvala elektronnu aparatura, zokrema, synthesizers, and not traditionally musical instruments.

One iz pomposkiv rozvitku muzyki drugoy half of the twentieth century. Became aleatoric (Latin alea - gralna kistochka, vipadkovist), scho vidhodit vid logiki rozvitku muzichnoi kompozitsii; To put on vipadok. For aleatorics, the standard і імпровізація виконавця (P. Bulez, K.Shtokhausen).

In the XX century. Відбувається the process of democratization of music, scho nerozrivno povyazany with jazz rozvitkom. Tsya Muzyka is close to the Negro musical folklore, but she has been repeatedly creating the jerk for the professional composers (J. Gershwin (1898-1937), opera "Porgi i Bess", concert "Rhapsody in blues tones", "American with Paris"). In the 50's. Narodzhuyutsya rock music, electronic music, for the anchor character of technnicke vtilennya, posinyena guchnist, svyeridny zv'yazok vikonavtsya і publiki.

Zagalom music of the twentieth century, zalyshayuchis innovativsyu, repeatedly turned up to the traditional Romantic music of the ХІХ century. That modernist strains of the cobble of the twentieth century.