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stanovlenie russkoi operi kak janra vozrojdayuschego russkii nazionalizm: istorichnost'- realizm,geroizm,simvolizm,narodnost',kul't,epos i tak dalee- ot vibora istorichnih syujetov do narodnoi spezifiki v musike.

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Introduction 3
Chapter 1. What is opera? Concepts 4
Chapter 2. Russian opera (18th- 20th century) 8
2.1. The history of Russian opera 8
2.2.Notes on Russian Nationalism 19
Chapter 3. Analysis of Russian opera of the 19th century. 21
Conclusion 30
List of Reference 31

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The conflict between two national spheres composer skillfully develops the system of musical-shaped oppositions, realized at different levels of drama. In comparison with the heroic drama by Glinka, Serov, Borodin significantly complicated the plot conflict and the dramatic development of the opera (the internal conflict in the Russian camp and a social motive associated with the image of Galich). At the same time, weak-laziness basic conflict, isolation prosperous and generally optimistic concept (in conjunction with the fundamental principles of the epic drama) have led to the emergence of a new variant of the historical opera - historical and heroic epics.A distinctive feature of the historical opera of the second half of the XIX century was the nomination to the fore not only the social problems. but also their deep psychological analysis. Most clearly this trend is reflected in the social and historical dramas Mussorgsky, become examples of organic synthesis objectively epic, lyrical and subjective aspects of the dramatic display of historical reality.«Boris Godunov» joined acute psychological drama of personality with social and historical drama of the people, which led to ambiguity Profile genre works. Embodying the idea of a collective consciousness, Mussorgsky creates volumetric image of the people, the accuracy of which is achieved by imprinting the portrait is not only positive but also negative features. The choral scenes, reflecting the wide-roky spectrum of emotional conditions of the masses and to identify its diversity, the composer uses a reception generalization across different genres and song intonations based on domestic dialect recitative.The image of the «power» - Boris Godunov is also ambiguous and multifaceted. His opposition of the people highlighted the consistency of the whole party of the hero in "high" tragic order, marked by a keen psychological insight and expressive recitation, coming from the tradition of lyrical psychological opera. An innovative solution to the problem of opera endings (tragic lament-prophecy Simpleton instead choral completion) allowed the composer to carry out a deeper connection between "the past with the present," which he put forward as one of the key creative tasks.In the author's definition of «Khovanshchina» - «folk musical drama» - has highlighted the innovative essence of the work: it is a unique example of a decentralized collective drama the protagonist. The most significant social groups representing him - Sagittarius and dissenters embody the fundamental characteristics of the quality of the people - Herculean strength and moral, physical and spiritual. Each of the shaped layers genre marked by isolation (valiant and dance songs - spirituals). Confront them the image of the "authorities" very generalized in the form of brilliant Transfiguration march.An important place in the opera Martha takes a lyric drama, which received a personalized expression of the historical drama of the whole of Russia, cheated and betrayed by those in whose hands is her destiny.Of particular importance in social dramas, Mussorgsky becomes ethical-philosophical concept. Each opera is embodied through a series of rooms that make up the naddeystvenny, spiritual plane. It is associated with the expression of the author's position Mussorgsky, who judges the events and actions of the actors from the point of profound humanity and at the same time - the highest moral law, which allows him to avoid an unambiguous assessment.In 70-80 years the vision of historical themes in the opera are trying to implement many composers. Most of the created cannot be unequivocally attributed to the historical genre. Such, for example, «The Merchant Kalashnikov» by A. Rubinstein, in individual terms, approaching social and historical drama. Nevertheless, these works in one way or another are involved in the development of a national model of historical opera, allowing the individual problems posed genre. So, in the vast boundaries of the opera on a historical subject in the years it lies one of the channels of formation of the national lyrical psychological opera, associated primarily with the name of Tchaikovsky. The individuality of his position in the interpretation of historical themes revealed the creation of lyrical and psychological dramas «Oprichnik» and «Mazeppa» (on subjects of national history) with a strong undercurrent of social conflict and the "Maid of Orleans" with the attributes of «big» romantic opera.Tchaikovsky's opera on a historical theme, saw the light in the 80s, was designated, on the one hand, the growth of lyrical and psychological trends in the Russian opera house this time, and on the other - the beginning of a gradual "decrease" in its proper historical themes, its withdrawal from the leading position. This process is most clearly manifested in the Russian art of the period of 1890-1900-s, when the social acuity and topicality lose attractiveness and artistic sphere increasingly seeks to address not to the modern and the eternal, intersecting with philosophy, religion, ethics. The interest in the national past is not quenched, but is taking new forms: the images of the art of historical reality translates to mythology, legends and folklore performances. These trends are reflected in the complex nature of the genre, «Legend of the Invisible City of Kitezh» by Rimsky-Korsakov. Historical here is not self-sufficient character and is an integral part of the spiritual and moral concepts of the opera.Conclusion chapter emphasizes that in the chronotope of Russian historical opera (with the unity of its space-event-media) clearly delineated three time factor: the last factor (the epic background, plot-event-action historical flavor) factor of the (visual, relevant and ideological scene of conflict, the whole concept of history) and eternity factor, that determine its special value and significance for the future.Among the most important criteria is attributed to the historical opera genre, performs deep analysis of artistic events. Russian composers sought to engage in an active dialogue with history, discover its main points the roots of today's problems of time, examine the "moment in the past." "Lighthouse" the historical musical drama became an opera major, crucial ideas, works, where the author from the standpoint of modern man peered deeply into the essence of what is happening.In terms of ideological orientation of the plot operas historical genre it traced two main varieties: IKO-hero-patriotic («defense») and socio-historical. In the first case it is declared patriotic idea, expressed in terms of inter-ethnic nature of the conflict, where the image of defender of the people, its national interests confront enemies-conquerors. In the second case, it puts forward the idea of social and invective as a result of internal conflict, and the powers of the people.All this led to the uniqueness of the historical protagonist of the opera as a hero of the collective mass. This hero is adopted Russian historical opera, shifting the emphasis in operatic concept with a personal public, with the «I» to «we». This Russian historical opera entrenched in domestic musicology under the definition of national musical drama. The term arose from operas by Mussorgsky, but has become common parlance in relation to the whole of the national historic Opera in accordance with the characteristics and direction of its shaped structure. In the interpretation of the historical drama by Russian composers, unlike in Western Europe, found the prevalence of tragic concepts, which explains overcoming the tradition of «safe» opera finals.Russian historical opera successfully refuted the prevailing belief that only a love affair may be the most reliable core opera action. However, domestic composers playwrights intuitively felt that the lyric line is needed historical drama, like the lyrical images of heroic-epic symphony. Lyrical theme makes his chamber and subjectivity required shading contrast to fresco the objectivity of historical action. It can be stated that the development of Russian historical opera went through a gradual increase in the role of her lyrical and psychological start, from the realism of the external actions - to the realism of feelings.Of the conflict in the historic Opera and is dictated by the particular form of its implementation. Expression confronts forces heroes to historical opera takes on the character of the two contrasting areas of genre: vocal and choral songs in the characterization, the Ombudsman and the instrumental genre (Dance, Mar shevost) for the characterization of non-indigenous imagery. The social and historical dramas image of a people is revealed through the vocal singing the beginning, while the image of the "power" is often summarized in a number of instrumental leyttem, and vocal-dominated declamatory recitative (the party of King Boris, Ivan the Terrible).In both variants of historical opera in musical characteristics of the people and its heroes is revealed intonation relationship, designed to emphasize their inner connection.The basic idea in historical Russian operas often revealed through the interaction of two contrasting areas of the genre: slavleny-laudation and lamentation, weeping. This figurative and emotional antithesis of form and its implementation has its origins in national folk traditions. The thesis emphasizes that contrast between these areas is based genre most dramatic historical Russian operas, but in each of the two main varieties of the historical genre, this opposition gets its semantic content. The heroic and patriotic operas with her associated expression of images of heroism and grief as the two sides of a single whole, while in the operas of social mood "glory" and cries are respectively means the characteristics of the images of "power" and the oppressed people, symbolizing the social and the overwhelming force of the first and the tragic fate of the second.The scale and significance of the historical events of the opera led to the predominance of its properties such as monumentality, Fres-kovost, a large bar and leisurely temporitme action inherent in the whole epic drama. The composition of historical operas, as a rule, does not cover at least four actions, including the introduction, usually the prologue and the "big" Overture - Instrumental "abstract" historical drama.The antithesis of force actions and counteractions often gets in the form of historical operas expanded dvuhkartinnoy exposure. Such screening allows most clearly and completely illuminate each of the conf-rontarukyatsih images, giving a historical scale of the conflict.The weight of choral beginning was the immanent feature of Russian historical opera, due to the specifics of its main character. This original sphere, emphasizing the national identity, the collective consciousness, collegiality. It is a developed choral drama gives a historical opera oratorio, strengthens their epic basis. Choral beginning, as we know, is the carrier of statics. Therefore, in the evolution of historical opera is produced by means of combating the "epic time". One of them served as ballet scenes, which create scenic contrasts choral episodes and their foreign "motor" to a certain extent compensate for the lack of internal dramatic development.Monumental composition is dictated by the historical operas and increased role symphonization is essential mechanism of association of a large-scale sound space.In a complex organism opera drama one of the most important components are the operatic situations that need to be outlined not only in the text of the libretto, but also confirmed staging of musical and relevant solution. This explains the need to consider the situation of opera as one of the essential criteria of historical opera typology.Among these are primarily the mass of the situation of dramatic or tragic nature concerning the fate of the people (a large social group, team):- Effective, the most acute situations (group "Drama"), reflecting the direct clash of conflicting parties - attack, invasion, encounter;- Situation of collective emotional reactions that anticipate or itozhat conflict collision: civil unrest, riots, gatherings, the situation of disaster (associated with them climactic zones), as well as the situation of courage, spiritual resistance in a tragic situation ( "quiet" climax);- The situation of death (penalty) a group of persons or of the main characters, symbolizing the tragic fate of the people (often play the role of isolation of the conflict).Important historical opera also marked the collective situation of requests, prayers for mercy and intercession, and close to them on the content of mourning situation, mourning. They are opposite in the sense of the situation related to the expression of the collective joy of emotional uplift, inspire.A very typical situation dialogic nature: collective - an appeal to the people of the hero (to call), personal –«fighting the conflict of wills». Also because of the "Word" in the historic opera became the most popular of the situation: the message, the order, the story and the «inner word» protagonist. These situations are similar predictions, prophecies regarding the fate of individual characters or all the people.Among the situations of the «rite», the most common collective ritual socially important heroes. Situations such as "Painting Nature" usually occur on the eve of the dramatic climaxes, as not only the landscape sketches, but also creating the necessary emotional atmosphere. The situation of the «Miracle», as a rule, appear as signs, special signs from above, foreshadowed the character of subsequent events. Song of the situation (the group «Love») is generally not critical; they are associated with the expression of feelings of individuals.As the analysis of the drama, most of these situations was popular opera and historical practice in the XX century.In the third section, we consider the typology of the heroes of Russian historical opera, it is shown that its own character is not so much as a bright personality, the spokesman of their own feelings and emotions, but primarily as a figure, in which through the "I" reviewed the characteristics of the «we». Russian historical opera, with its preference for national themes and social issues in the domestic arts was one of the main genres, manifest most important and relevant national ideas. It is this feature of the predetermined degree of generality, typing her images of opera characters, concentrating in its appearance constant features of the national character (which was of particular importance to them in comparison with other nationalities opera characters). In the genre of historical operas are found fairly stable types of characters, which gives the opportunity to offer their systematization, though very conditional.Glinka in the first main characters "Life for the Tsar" embodied historically significant features of the national character. His brief characteristics of the characters actually identified types of characters that have become fundamental to the historic opera.Susanin Glinka - "an important character" - marked the beginning of the gallery of heroes, absolute positivity which is dictated by their primary funktsiey.- be the bearer of the national-patriotic ideas. The core qualities of these heroes are patriotism, citizenship and willingness to exploit for the country stemming from ingrained in the national consciousness of Orthodox spirituality, with its high ideals of self-denial and self-sacrifice. This type of conditionally designated in the study as "a patriot hero". These images representing the foreground (Susanin, «Igor Kochubey»), multi-faceted, as reflected in the multi-piece of their musical performance (recitative epic and pathetic declamation, broad cantilena). The central point in their depiction of a big aria scene or monologue. The essential means of personification, a low tone of voice (bass or baritone).The other group consists of anti-heroes, which can be attributed to the type of "unjust rulers" (Galitsky, Khovanskii, Mazepa). In their actions they are guided by selfish ambitious motives and the characters are very different from patriots with whom to form a pair of conflicting (Galitsky - Igor, Khovanskii - Dositheus, Mazepa - Kochubey). Antiheroes are not clearly negative, since all have one or another attractive feature.In between are heroic «rulers» dialectically connecting the positive and otritsitelnye features characters-signs «patriots» and «unjust rulers» (King Boris, Ivan the Terrible), characterized by the complexity of the musical performance.Another type of historical opera - "the swashbuckling character" - was presented to figure Sobinin in which Glinka embodied such national qualities, like courage and daring, combined with sincere warmth. This type is designated as "young warrior", associated with the folk tradition of images of "good fellows." He also is a bearer of the idea of patriotism. In this series are Michael cloud ( "The Maid of Pskov"), Andrew ( «Mazeppa»), prince Vsevolod ( «Kitezh»). Their vocal characteristics normally synthesizes manly songs, arioso, lyricalromansnost. A typical voice - tenor.This type can also act as an anti-hero - a passionate, ambitious, but morally unstable (Andrew Khovanskii, oprichnikKiribeevich Gregory Otrepyev).By the circle of positive heroes historic opera referred type, which can be conditionally called "wise elders": Pimen and Dosi-fairies in dramas Mussorgsky, The old wanderer in "Rogneda" kitezhsky Prince Yuri. These heroes go back to the images of Orthodox saints and spiritual heroes. They are characterized by an ascetic detachment from the madding crowd, yet profound humanity, caused by a sincere zeal of the fate of human and the state. The vocal "elders," as a rule, combine the epic recitation recitative and restrained; Voice - only bass.The Russian operas virtually no clearly negative heroes, «the genius of evil».Therefore antipodes "wise elders" can be considered "unjust rulers", as well as another type of negative characters - "a sly courtier" (as defined by Pushkin). It hypocrites, clever and cunning schemers who seek their own gain, power-mad prince Shuisky, Rangoni, Prince Golitsyn, lord Shaklovity. Permanent variability - the basic quality of their performance.From the arsenal of national household comic opera late XVIII-early XIX century historical opera drama genre borrowed characters, designed to serve as a contrasting background to highlight the significance of the main historical action heroes, create a realistic atmosphere. Typical was the image of buffoon entertainer, which embodies the people's sense of humor, wit and love for life: Toorop (“Askold's Grave»), prince fool («Rogneda»). In historical operas kuchkistov this type has a more realistic character, has absorbed the negative traits: Barlaam and Mishael, cheeks and Brooch, Sagittarius Kuzka. The culmination of its development in the negative side was the image Grishka commotion. Expressive sphere heroes of this type - buffoon genres and dance songs.The specific area in historical Russian operas of XIX century up female musical portraits. In relation with male, they are not as numerous, but the most sublime expressive properties of the national female character in them. A classic example of the heroes of «gentle graceful» type - Anthony da in Glinka's opera. Close to her Maid of Pskov Olga. The roots of this character go to the folk tradition, where there was a charming image of a "soul-maiden of red."In historical operas of the second half of the XIX century, and there are strong female characters. After heroes Serov (Judith, Rogne, yes), this type finds vivid expression and in the other operas. Martha and Yaroslavnais combined the best features of Russian women - emotional strength, courage and inner dignity stored in precarious circumstances. The personification of the moral and spiritual strength was the image Fevronia. The scale of these images correspond to the scope of historical opera events, and the images themselves are beautiful and a symbol of the tragic fate of Holy Russia. Analysis of various genre sections of the national historic Opera lets talk about prevailing stable features of Russian historical opera, which formed the basis of the genre modelin the XIX century.ConclusionRussian Opera The seeds of a distinctively national art music in Russia are usually dated from the first half of the 19th century. The performance of the opera A Life for the Tsar (1836), by Mikhail GLINKA, is usually cited as the turning point for Russian music (Russia's national anthem is taken from this opera). In this historical opera, as well as in his subsequent opera Ruslan and Ludmila (1842), the orchestral fantasy Kamarinskaya (1848), and numerous songs, Glinka successfully fused the typical melodies, harmonies, and rhythms of Russian folk music with the forms and techniques of Italian opera -- creating an eclectic but unmistakably national idiom. Glinka's younger contemporary, Alexander DARGOMYZHSKY, is best known for his influence on subsequent nationalist composers through his posthumously produced opera The Stone Guest (1872), a radical attempt to promote musical realism by abandoning the forms and conventions of traditional opera in favor of continuous recitative. The FIVE, or the Mighty Five, is thelabel given to a group of Russian composers that formed during the 1860s. Supported by the influential critic Vladimir Stasov (1824-1906), the Five -- Mily BALAKIREV, Aleksandr BORODIN, Cesar CUI,Modest MUSORGSKY, and Nikolai RIMSKY-KORSAKOV -- sought to legitimize the goals and achievements of nationalistic music and to oppose the dominance of Western musical influences. Although linked by common propagandistic aims and by the characteristic absence of formal musical education, the composers wrote in differing styles. The most lasting musical achievementswere made by Borodin, Mussorgsky, and Rimsky-Korsakov. Borodin is noted for his use of Russian orientalisms in works such as In the Steppes of Central Asia (1880) and his opera Prince Igor. In his numerous operas on historical and fairy-tale subjects, as well as in the well-known symphonic suite Scheherazade (1891), Rimsky-Korsakov exploited the unusual modal tendencies of Russian folk music, and his orchestration was colorful and effective. Musorgsky was undoubtedly the most original composer of the Five. Continuing Dargomyzhsky'ssearch for musical realism, he combined an instinctive flair for the nuances of folk music with flexible, textually motivated rhythmic practices and unusual harmonic juxtapositions in his many songs, his operatic masterpiece Boris Godunov (1869-72), and his suite for piano Pictures at an Exhibition (1874). Although he was misunderstood by many of his contemporaries, Mussorgsky's legacy has been profoundly important for music in the 20th century. The conspicuous targets of the nationalists were Aleksandr Serov (1820-71), a prominent music critic,Wagnerite, and opera composer, and Anton RUBINSTEIN, a legendary piano virtuoso as well as a prolific composer. Rubinstein and his brother Nikolai (1835-81) were responsible for establishing the first music conservatories in Russia, founded on German models, in Saint Petersburg (1862)List of Reference

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