Abstract
“The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem
Highlights
The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem
The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle
Будучи мастером воплощения национальных образов в различных жанрах, в этом сочинении он предложил оригинальную концепцию вокального цикла в сопровождении оркестра смешанного типа, которую автор статьи интерпретирует в новом жанровом измерении – как «вокальную поэму»
Summary
“The Eight Songs” by Zhao Jiping as the embodiment of the vocal and instrumental poem. An analysis of the genre-dramaturgical patterns in a poorly studied composition by the Chinese composer Zhao Jiping (2011) has been proposed. The relevance of the topic and the novelty of the received results of the genre-semantic analysis of the chosen vocal cycle are concluded in the search for the definition dictated by the artistic concept of its author – a cantata-type vocal poem (a small choir is introduced into the score). The purpose of the article is to perform a genre-semantic analysis of “The Eight Songs” for Zhao Jiping’s voice and orchestra and to identify the main sound-image concepts of “the Chinese world view” that make up the drama of the vocal cycle. In the conditions of the poly-timbre vocal and orchestral synthesis and the national picture of the world poemness becomes the subject of a special interest of the singer-researcher
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