Духовно-смислові та жанрово-стильові аспекти«Меси миру» К. Дженкінса

Abstract

Research objective is to identify the poetic and intonational features of the “Mass of the World” by K. Jenkins in the context of the specifics of the existence of spiritual genres in the cultural and historical realities of the twentieth century. The methodology of the work is the intonation approach in musicology, successive from B. Asafiev and his followers. At the same time, historical, cultural and interdisciplinary approaches proved to be very significant for this work, allowing one to study the features of the interpretation of the mass genre in the postmodern ecumenical space of the turn of the 20–21st centuries. The scientific novelty of the work is due to the fact that it presents for the first time analytical generalizations regarding the “Mass of the World” by K. Jenkins, revealing not only the genre-style specifics of the composer’s work, but also its spiritual and semantic component, refracted in the mainstream of the “neocanon” of the 20th century mass. Conclusions. The poetry of “Mass of the World” by K. Jenkins, created at the turn of the 20–21st centuries, reflects the original symbiosis of the spiritual and musical traditions of the past and the present, East and West and genetically goes back to the pacifistecumenical concept of the “religion of the world”, appealing to the spiritual unity of mankind. The foregoing determines the multi-genre nature of the composition, formed on the basis of the interaction of the traditions of the mass and its genre modifications in the 20th century, and the requiem, which also reveals its liturgical and memorial character. The multicultural specificity of the “Mass of the World”, due to its multilingual textual basis, the range of which covers a wide range of sources from the ordinar of the mass, Bible books (Psalms, Revelation of John the Evangelist), Muslim azan and “Mahabharata” up to poetry of the twentieth century (R. Kipling, D Dryden, A. Tennyson, T. Mallory, Toge Sankiti), uniting the East and the West, is also manifested in the intonational language of the work, synthesizing cultic life and spiritual choral creative practice of the past and the present. The symbol of the latter is the old French fiction “L’homme arme”, the figurative, semantic and intonational language of which unites the entire work in affirming the relevance of the idea of a spiritually armed person.