Christian mystery in determination of headwaters of the opera

Abstract

The purpose of the article is tracking profound-structured connecting section medieval-rеnеssaence mystery and operatic classicists, which on ideological considerations in New and the most Latest time in the incidence of the past age did not notice then presentation was narrowed about semantic filling the operatic show and that became peg introduction decisions of operatic classicists on today. The methodology of the work is the culturology approach in science about art, presented including the school of B.Asafiev in Ukraine. The base place occupies the method of the genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within metaphysicians of the histories (A.Losev, N.Konrad) fix the semantic parallels of the formation of the humanitarian sphere and expressiveness of art. The scientific novelty of the study reveals itself in the independence of the building of the consequent steps of the historical relationships mystery and operas, but також in originality most march to this sort relationship from dramatic championship of the theatrics in music as style-genre opposition sacramental vocal and home sound expression with borrowing the ways of the comic manifestations and home dance plastics. Conclusions. The accepted contraposition of the first operas end XVI - a galley proof XVI-XVII century mystery and liturgical drama is refused not only by mystery symbology of plot, melody-declamatory presenting the text, obviously derived by church practical persons of psalmody-recitative, handhold on church origin vocal in singing, but also the most idea of dialogue in music forming show in his style-genre collations that incompatible with monologue principle of the church service, which excludes the penetration (in traditional church) of the home component in her sound structure.