Ntonation structure of early opera

Abstract

Research objective is to consider the ways of development of the intonation structure of the opera of the late XVI – early XVIІ centuries as a set of intonation features sufficient to reflect abstract-contemplative and intense-sensitive, dramatic imagery, static and active stages of the dramatic development of a new theatrical genre. The research methodology is based on a historical and stylistic approach, in addition, the methods of system and intonation analysis are used, the comparative method is useful. Scientific novelty is determined by the inclusion of an understudied period of the development of Italian opera in the national scientific circulation, which, on the one hand, will supplement and correct the existing ideas about this phenomenon in musicological works, and, on the other hand, allow to see and emphasize new aspects of the intonation evolution of the early form of this genre. In addition, we can work on the butts of the singing operas of the XVI century – the beginning of the XVIІ century, to bring out the splendid moments that make the typological drawings of the opera like a genre. Conclusions. Тhe early opera, which in a fairly short period of time from the moment of its birth to the middle of the 17th century, evolved significantly, moved away from general theatrical patterns towards the formation of the logic of immanent-musical development; from the weight of the declamation, which obeyed the smallest shades of the word, to the generalized transfer of the meaning and feelings of the poetic text; from the emotionally colored intonation, which is characteristic of Florentine operas, to the principles of intonation generalization of emotions, which are formed in the work of K. Monteverdi. All of the listed modulation processes, as important for the approval of the key features of the opera genre, were accompanied by a movement towards the expansion of the imaginary world by musical drama. Recitative, as the main attribute that characterized the specifics of early opera, in its further development was pushed to the periphery of the musical side of the performance by more viable operatic forms, but at the same time it remained a significant component of the expression of the stage action. In this process, the logic of the musical and dramaturgical composition was connected with overcoming the fluidity of the recitative style, highlighting aria episodes with a rather high degree of certainty in it, as well as using elements of through development. In addition, it was usually built as a movement from the statics of the original situation (choral episodes) through its violation (recitative) to the consolidation of a new quality (arios and choral episodes).