Musical Dramaturgy Research Articles

Музыкальный коммерческий театр Бродвея в контексте социокультурной среды 70-х гг. XX века

Broadway musicals created in the 70s of the XX century are a reflection of many socio-cultural phenomena taking place in the USA at that time. Their dynamic, originally formed musical dramaturgy, an appeal to topical topics consonant with the public consciousness of the era of the 70s, makes this period of development truly unique. The works created during these years by Stephen Sondheim, Stephen Schwartz, John Kander, Fred Ebb, Marvin Hamlisch, Edward Kleban greatly influenced the development of the musical genre, enriching it with new musical and dramatic techniques, a fundamentally new worldview for that time. The 70s of the XX century were the heyday of the creative work of musical theater di- © К.А. Брейтбург, 2022 rectors such as Harold Prince, Bob Foss, Jerome Robins, Michael Bennett, whose work revealed the musical and dramatic features of musicals, created an atmosphere and a unique charm of entertainment, but at the same time a special psychological depth, for which such musicals as “Chicago”, “Corps de Ballet”, “Company”, “Little Night Music” became famous. Commercial theater is also professional management and non-trivial production solutions that promote artistic works to the market. Perhaps because of this, these musicals have become beloved by a huge audience and iconic in the history of the genre as a whole. The 70s were especially difficult for the life survival of Broadway theaters, because the conditions of the economic crisis in the United States were increasing. Society, on the one hand, became more and more divided, on the other hand, various racial and gender minorities united, intensifying the struggle for their civil rights, the women's movement for equality was gaining more and more strength. Since its inception in the middle of the XIX century and up to the beginning of the XXI century, the Broadway musical has been and remains a vibrant, viable entertainment form. The musical as a kind of musical theater has endured devastating economic and political crises, radical shifts in public consciousness and the development of much more modern, less expensive and supported mass entertainment media with enviable resilience. This type of musical and scenic art continues to live and develop steadily, and in recent years its importance in social and cultural life and popularity among the general population, including in our country, has increased significantly. The stage American musical is a constantly adapting commercial musical and theatrical entertainment form, which is the product of a dynamically developing socio-cultural environment. It is impossible to separate the processes occurring in the genre-stylistic evolution of the musical from the economic, socio-political and social phenomena occurring at each individual historical stage of the development of society. That is why the materials presented in the article are interdisciplinary. They are connected not only with the musical as a kind of musical and scenic art, but, what is fundamentally important and new for this kind of research, with the socio-historical background that influenced the formation of certain trends in the development and formation of musical theater.

КОМПОЗИЦИОННЫЕ ПРИНЦИПЫ ОПЕРЫ Е. И. ПОДГАЙЦА «ПОВЕЛИТЕЛЬ МУХ»

Efrem Podgaits is currently one of the most sought-after composers; his work is acclaimed not only in our country, but also abroad; he collaborates with the leading musicians of our time. His musical heritage is represented by a wide variety of genres. These include works for musical theatre, works for symphony and chamber orchestras, instrumental and ensemble music, vocal and choral opuses, music for radio, film and television. The genre of opera occupies a significant place in this list. The article is devoted to a very original opus by E. Podgaits — rock classic opera "Lord of the Flies", created in 1995 (libretto by L. Yakovlev). It is based on the eponymous masterpiece of classical British literature of the XXth century, a dystopian novel by Nobel Prize winner W. Golding. The premiere of the opera took place in 2007 at the Children's Musical Theater named after N. I. Sats (directed by V. Merkulov). The purpose and objectives of the article are to determine the genre and style specificity of the composition; to reveal the principles of the musical dramaturgy of the opera; to reveal the features of the musical characteristics of the characters, as well as the composer's individual approach to the chosen opera model. To achieve the set goals and objectives, an integrated method combining historical and musical-theoretical approaches was used.

Ferruccio Busoni’s Path to Music Theater

In his debut work for the theater, Musik zu Gozzis Märchendrama Turandot, Busoni attempted to realize a new genre for music theater he described as a “musical illustration” of Gozzi’s fiaba teatrale. While the Turandot-Suite (1905) derived from it was highly successful in the concert hall, the incidental music, first performed by Max Reinhardt in 1911, remained unsuccessful, the publishing of its score delayed, and, to this day, the autograph not yet rediscovered. An analysis of the correspondence between Busoni and his publisher reveals that the composer’s unfamiliarity with theatrical customs and practice led him to consider his incidental music as an autonomous musical work. Only in later years did Busoni successfully realize his anti-naturalistic musical dramaturgy in the opera Turandot (1917).

Dramaturgia muzyczna

In her paper, Ewa Wąchocka examines the phenomenon of recent dramatic works becoming increasingly more ‘musical’ and the terminological shift it brought about, i.e. the inclusion of the term ‘musical dramaturgy’ in writing for the stage. The author argues that far from being limited to the sounds of speech and language in general, musicality also encompasses a variety of non-musical sounds, the unravelling of the play’s narrative and the psychological makeup of its characters; it also penetrates deeply into the structure of the text. In the analysis of plays by W. Murek, A. Grzegorzewska, and S. Bogacz, the author demonstrates how essential the inspirations sourced from musical culture are for recent dramatic works: the 20th-century experiments with music, the discovery of how potent sound expression can be, or the most technologically advanced methods of sound reproduction. By presenting the many and varied dramatic strategies, the author shows that contemporary playwrights not only use musicality to represent the sound landscape of the world but, first and foremost, to create the ontology of an internally conflicted world.

Interpretation of the Main Heroine's Image in Operas by Christophe Willibald Gluck "Iphigenia en Tauride"

The author emphasizes the urgency of the appeal to С. Gluck's opera "Iphigénie en Tauride" as a work of sublime-majestic, tragic-dramatic character with strong passions, emotional struggle and inner experiences of the heroes. The approach proposed by the author serves as an alternative to the trends of modern theater, in which is rapidly spreading a mass culture of entertainment, show business, ideology consumption and pleasure. The process of the embodiment "Iphigénie en Tauride" in the Komische Oper Berlin with the participation of director V. Felzenstein, conductor K. Mazur and Ukrainian singer Ye. Kolesnyk, the author of the study, is covered. The source and analytical bases of the research are investigated and systematized in the context to identify some key aspects of Gluck's opera reform, their influence on the musical drama "Iphigénie en Tauride" and the peculiarities of the stage embodiment of the work by international ensemble. The aim of the study is to determine the concept of creating an artistically holistic image of the character on the example of interpreting the inner features of the main character of Gluck's opera "Iphigénie en Tauride" with the participation of domestic singers in international art projects. The methodology of scientific exploration of the main content of Gluck's opera reform concerns various points of study: the specifics of the musical dramaturgy of the work, the director's and conductor's concept of collaboration with the singer at the Komische Oper Berlin and the National Opera of Ukraine. The author involves the following methods: experimental modeling, interpretive, comparative. It was proved that the process of radical renewal of the opera was initiated by Gluck in "Orpheus and Eurydice", continued in "Alceste", acquired visible outlines in "Iphigenia in Aulis" and completed in ""Iphigénie en Tauride". Musical drama "Iphigenia in Tauris" absorbed all the achievements of the composer on the path of a radical rethinking of the ways of embodying operas. The general principles of the artistic approach to acting with the priority of realistic-psychological vector of development in the musical theater of both countries were revealed. The competitiveness of domestic artists in the world market of theatrical services is proved on the basis of the performance by the Ukrainian singer abroad during six years of the part of Iphigenia in the original language. The prospects of further scientific research of adaptation of domestic singers to the conditions of creation of international art projects against the background of world integration of modern musical theater are determined.

The “Fatality” Motif – a Defining Element in the Musical Dramaturgy of the Opera Carmen by Georges Bizet

"The subject of this study deals with the presence of the “fatality” motif in the musical dramaturgy of Bizet’s opera Carmen. A musical portrait of the main character, it defines from the very beginning her tragic destiny. The present analytical approach identifies all the insertions of this musical motif along the development of the dramatic plot, in an intrinsic relationship with the text. Keywords: Bizet, Carmen, opera, fatality, musical dramaturgy "

Opera by G. Rossini "Il Barbiere di Seviglia" Through the Prism of Director's Analysis of a Creative Artistic Project

The phenomenon of popularity of the opera «Il Barbiere di Seviglia» by G. Rossini in the context of the global communication of cultures from different countries of the world, the search for a dialogue to their interaction is considered. The relevance of the research suggests the need to solve the problem of director's interpretations of the opera in the context of the revival of the Rossini style of singing in accordance with the author's score. The scientific novelty is determined by defining new approaches to the interpretation of the opera, identified in the conceptual vision of the director's idea of his own project. The purpose of the study is to determine the concept of director's interpretations of the opera by G. Rossini «Il Barbiere di Seviglia» in the context of the new paradigmatics of musical theater. Research methods selected: historical and biographical — to clarify the features of the work by G. Rossini in the context of the formation of Italian opera; genre-stylistic, comparative — to outline the specifics of the musical drama «Il Barbiere di Seviglia» by G. Rossini, its differences from the work of the same name by G. Paisiello; interpretive — to consider the directorial versions of postmodern opera; prognostic — to determine the vector of the conceptual vision of the director's idea of his own project. The main results and conclusions of the study are in the following aspects. It has been found that G. Rossini's opera «Il Barbiere di Seviglia», written on the border of classicism and romanticism, laid the foundation for a new style - Italian romantic opera, which influenced the formation of European national opera schools. It is proved that the musical dramaturgy of G. Rossini's opera «Il Barbiere di Seviglia» by S. Sterbini's libretto differs from J. Paisiello's opera of the same name by Petrofellini's libretto, which is not illustrative as in the latter, specifics of the original source by P. Beaumarchais. The director's incarnations of the opera are the Italian and Russian versions at the Helicon Theater, Russia, and two versions at the National Opera of Ukraine and the Academy's Opera Studio. The conceptual vision of the graduate student of her own project «Il Barbiere di Seviglia» by G. Rossini is predicted, which provides an original synthesis of authentic and modern interpretive styles, traditional and innovative means of expression with their tendency to syncretism based on a combination of scientific achievements and domestic directors.

Theatrical and Non-Theatrical Thinking in Actual Choreographic Practice

The article attempts to concretize the essence of the two aesthetically polar staging approaches — theatrical and non-theatrical (performative) — in the context of the choreographic art development. The author suggests that the basis for separating these approaches can be some peculiarities in the ways they interpret such fundamental concepts as “actor”, “role”, “spectator”, “drama”, “action”, “conflict”, which, in a choreographic performance, are in certain relationships determined by cultural traditions, and in a non-theatrical production, they are transformed up to their disappearance. A similar experience of separating a theater and a non-theater on the basis of the presence of an actor, a role, a spectator and an hierarchy between them is proposed in theater studies. However, in choreographic (including ballet) performances, the content of the role is closely linked with the music and is often determined by the emotional background and musical dramaturgy. In the case of a radical departure from the composer’s intention, turning to a different starting point for the composition, the specificity of the choreographic (ballet) performance is destroyed. Borrowings from non-theatrical art are showed in the construction of meanings when working with intrinsic body movement, as well as in the reliance on interdisciplinarity. Within a single line of choreographic art, there is a whole spectrum of ideas that interpret the concepts of “theatricality”, “non-theatricality”, “drama”, and “performativity” in different ways. On what basis to classify them in order to reduce them to a consistent system is a difficult question. The article attempts to outline the foundation for future classification. The relevance of this topic is caused by the insufficient elaboration of the conceptual base in the specialized literature on choreographic art.

‘This is My Life’

Scottish music teacher Kirsty Young's autobiographical piece, LipSync (Edinburgh Fringe Festival, 2019) dealt with Young's life shortening illness cystic fibrosis (CF), where the lungs are filled with mucus, and their capacity incrementally damaged. Portraying the interludes of hospitalization familiar to CF sufferers, and at the two-metre safe distance that they are required to keep from each other because of the danger of cross-infection, Young and non-CF suffering actor Ailsa Davidson performed snatches of Billy Joel's hit pop song, ‘My Life’ (1978), at different speeds and in different moods, affectively and temporally measuring the progress of Young's failing breath. This article explores the prescience of Lipsync in using song to express human capacities for care and survival, developing a musical dramaturgy of care with Cumbernauld Theatre, and in so doing exposing the precarity of bodies normally ‘disavowed’ in the economically-driven political field (Butler 2015). It reflects on singers’ ‘disidentification’ from the suffocating conditions of dominant culture (Muñoz 1999; Chambers-Letson 2018), and draws on the work of Martin O'Brien (2016, 2020) with regard to the experience of the embodied self from the perspective of a person with CF in relation to social and material environments The article suggests that when air is in short supply, or when breath is disrupted, existing embodied knowledge of the orderings of the world is brought to attention. Breathing in such knowledge, it argues, can reposition listeners accustomed to experiencing song as a site of pleasure, leading to more acute perception of the uneven distribution of vital resources.

Akord à rebours. O muzyce i „duchowej inteligencji” w filmie Interstellar Christophera Nolana


 
 
 The essay aims to reveal the role of music in the movie Interstellar by Christopher Nolan and its significance in creating an artistic message that relates to the love myths characteristic of European culture and art. The orientation point is the Tristanic myth and the project of musical dramaturgy by Richard Wagner, the founder of the concept of music being the significant layer in a Gesamtkunstwerk, a synthesis of the arts, which strongly inspires i.a. cinema. The article ponders possible messages to be decoded from the music in Nolan’s movie: as a “form of a lover’s discourse” (R. Barthes), “significant form” (Suzanne K. Langer), “symbolic form” (E. Cassirer), responsible for shaping the ambience that constitutes an inherent structural part of the movie in the metaphysical cinema genre. The musical solutions applied by Hans Zimmer in the soundtrack to Nolan’s movie do more than merely imply inspiration from Wagner. They also allow for recognition of the polyphonic way of constructing formal and thematic relations between musical themes and the verbal-visual layer of the movie. This refined artistic project aims at a subtly directed confrontation with the nihilistic picture of love that is representative of melancholic-pessimistic images of the condition of human relationships in the modern culture. The analysed main musical theme, called the “à rebours chord” (i.e. anti-Tristan chord), turns out to be an overt musical manifestation of such a counterpunch and becomes a starting point to telling a story that refers to the concept of love which assumes taking action and fighting for the good of your loved ones, as well as the concept of Caritas and unconditional love. The way that the music and sound of the movie are orchestrated is therefore tightly coupled with its semantic and symbolic message, which allows for perceiving the music as a specific “libration point” of the movie structure. Its function might also be interpreted as a semantic attribute of “a spiritual intelligence”, referring to that which is binding and crucial for the axiological and metaphysical message of the movie.
 
 

Batyar Songs in Viktor Morozov’s Creativity

Relevance of the study. The batyar subculture has already become the subject of many scientific works of Polish and Ukrainian researchers as a social phenomenon with its own jargon and cultural traditions. In particular, this issue has become central in the works of U. Jakubowska, A. Kozytsky, O. Kharchyshyn, Y. Vynnychuk, N. Kosmolinska, W. Szolginia and others. Batyar songs as a layer of Lviv city music got a new life thanks to the creativity of V. Morozov, realized in the publication of three albums with neobatyar songs. This group of songs and its genre and intonation parameters have not yet been at the center of musicological research and open up new perspectives for learning of genetic links between urban music and popular contemporary music in Ukraine.The purpose of the study is to analyze the genre and intonation features of Viktor Morozov’s albums, the principles of their cyclization, to explore the genetic links between batyar and neobatyar songs.Results and conclusions. Each of the three albums “Only in Lviv” (“Tilku vi Lvovi”), “Heart of the batyar” (“Serdtse batiara”) and “Batyarsky blues” (“Batiarskyi bliuz”) reveals itself as a large genre, which structure builds an expanded musical dramaturgy. In many aspects, it is connected with principles of the cyclization of academic genres, in particular, the vocal cycle and the program suite. The basis of the dramaturgy development of the albums was the method of contrast at the level of thematic, genre, tempo-metric organization. In addition, all three albums actually formed the one line of transformation of batiar songs from the authentic sound of songs from the period of the 20–30s of the twentieth century, and to new author’s — neobatyar songs, there were created on the basis of modern genres.New plots and themes of the verbal text of neobatyar songs also directly appeal to the original period of the first Lviv batyars at the beginning of the 20th century. The love adventures of the batyars, the struggle for authority and respect among the representatives of the subculture, the love for the native city, the glorification of fearlessness, life with not burdened by laws and fear became the main topics in neobatyar songs too. A characteristic local dialect is preserved, including a combination of vocabulary of various language systems; the use of lexical distortions, obscene vocabulary takes on a new embodiment through modern neologisms, borrowings. Songs are still performed exclusively by men, and the main genre outline is dance, including polkas, waltzes, tango, staer and others. The phenomenon of the double nature of batiar songs is organically embodied, where folklore and author’s songs are expressed through a combination of anonymous and original songs of the prewar period and neobatyar songs created by the authors of the albums. The nebatyars headed by V. Morozov in the albums “Only in Lviv”, “Heart of the batyar” and “Batyar blues” deliberately appeal to the layer of batyar songs, aiming to give new life to the old batyar song genre in the context of modern musical trends, to save the unique phenomenon from oblivion, rethink them in the context of the realities of our time. Thanks to the conceptual approach to the creation of the aforementioned albums, the authors managed not only to organically continue the musical traditions of batyar songs, but also to give them new life at a fresh, even brighter artistic level.

Psychologization Of Oksana’s Vocal and Stage image from S. GulakArtemovsky’s Opera ―Zaporozhian Za Dunaiem‖ in Creative Version of Lev Venedyktov

The author carried out the research aimed both to determine the factors of creation of S. Gulak-Artemovsky's opera "Zaporozhets beyond the Danube" and to reveal its characteristic features. Changes in the libretto of the work were proved, their influence on the development of the conflict, the peculiarities of its resolution in the implementation of the play were indicated. Due to the review of literary sources, their thematic systematization was carried out according to the following parameters: features of the life of the Transdanubian Cossacks after the destruction of the Zaporozhian Sich; preservation of national traditions, customs, rites of the Ukrainian ethnos abroad; the specifics of the manifestation of the mentality of Ukrainians against the background of their coexistence with another nation, which differs in cultural and religious identification. The methodological study of educational issues through the prism of a comprehensive cross-sectoral understanding of the historical, socio-psychological, cultural, musicological and theatrical aspects of the opera is outlined. Peculiarities of the musical dramaturgy of the work, its construction on the synthesis of creatively reconsidered genre-style features of the French and Italian lyric-commission opera with the Ukrainian song and dance folklore are published. Three dramatic lines in the opera are characterized: lyrical-romantic (images of Andrew and Oksana), comic (images of Karas and Odarka), patriotic (generalized image of the people). The process of creating a holistic vocal-stage image of the heroine was analyzed through the prism of the author’s article E. Kolesnyk who was the performer of Oksana's part under the guidance the Chief Choirmaster of the National Opera of Ukraine L. Venediktov. The individual specific approaches of the artist to the deepening of the psychology of the heroine’s artistic image through the use of a synthesis of various means involved in stage expression were determined. The fruitfulness of the outstanding choirmaster's cooperation with the experience of an opera conductor and singer in revealing the musical drama of opera composition in accordance with the composer's idea is proved. The author predicted the prospects for further explorations of the concept concerning the creating of holistic vocal and stage characters which goal is to find and display new synthesis of artistic means of expression with their inclination to neo-syncretism.

Онтодиалог как синергийный принцип организации музыкальной драматургии (на примере «Торжественной литургии» Л. Дычко)

The article analyses L. Dychko’s “Triumphant Liturgy”, a symbolic composition of the early ХХІ century, through the lens of the “ontological dialogue” category, one of the key categories of musical analysis. Ontology of music reveals spiritual essence of a musical composition taking into account its genre specificity (secular or liturgical music). The authors propose a model of musical composition in which ontological parameters system integrates hierarchical elements through interaction of the human’s image and worldview, elements of musical language and spatial-temporal arrangement. Choice of L. Dychko’s composition is conditioned by the fact that it presents synthesis of ontological systems on the basis of synergy. The research findings are as follows: introduction of the “ontological dialogue” category allows interpreting musical composition dramaturgy as a spiritual vertical integrating different genres and styles. The synergetic type of musical dramaturgy arrangement is determined by specificity of liturgy as an archetype of the Christian culture.

Drama-Music Communication in Opera Performance

The study “Drama-Music Communication in Opera Performance” builds on my 35-year experience of lyric drama in opera production. In my career as a director, which spanned from Baroque opera to contemporary opera, I was intrigued by the multiple connections between the musical dramaturgy, vocal expressiveness, stage image and impact on the audience. Consequently, I realised that all these elements which rely on musical scores are connected by something similar to the principle of communicating vessels: with genuine and intense musical-dramatic communication, the artistic emotion may reach the same level in all the components of the connections mentioned above.

ОСОБЕННОСТИ МУЗЫКАЛЬНОЙ ДРАМАТУРГИИ ДЕТСКИХ КУКОЛЬНЫХ СПЕКТАКЛЕЙ

The musical dramaturgy of a child's puppet show is a unique phenomenon, characterized by brevity, conciseness, minimalism of forms and structures. It relies on the generally accepted laws of theatrical productions, which include the exposition, the outset, the culmination, the denouement, and so on. Specific features of the children's puppet show are manifested in the plot-sense, figurative and genre aspects, as well as in the means of musical and artistic expressiveness. The basis of the puppet show is the genre of the fairy tale, which in the form accessible to the children reveals the main meaning of the artwork. Through the genre of fairy tales, children distinguish good deeds, truth and lies, learn about living and inanimate nature, people, fairy-tale characters, fantasize, ponder, memorize. The imagery that are revealed in the puppet show are actual to the child. The musical side of the performances contributes to his perception. Particular importance is the theater dramaturgy and musical dramaturgy of the children's puppet show. They contribute to the organization of the musical and artistic consciousness of the child, who first gets acquainted with the theater world. The musical dramaturgy of the children's puppet show is based on song and folklore genres. The musical and artistic expressiveness is based on the melody of the word and the structural and rhythmic patterns of verbal speech. The analysis of the integral dramaturgy of the children's puppet show testifies to the birth of original, original genre models – a fairy tale with music, a musical fairy tale and an interactive performance. Children's puppet show is close to the psychology of children's perception. At the same time, it has musical, artistic, teaching and educational significance. Puppet show captivates and helps children enter into real life with the help of artistic-figurative and musical-figurative experiences and impressions. In this process, dramaturgy, as well as various means of musical and artistic expression, a decisive role in the play. Moreover, successful dramaturgic decisions of the play control the perception and consciousness of the audience and lead it to the expected results for the authors of show. With respect to the children's audience, the result should be considered not entertainment, but educational and educational success. It is here that the main meaning of children's puppet shows is concluded, which through the artistic influence form and develop the personality of a small person.

Особливості трактовки сонатної форми у фортепіанній творчості Л. Бетховена: до проблеми побудови виконавської концепції (на прикладі сонат op. 101, 106, 109, 111)

The purpose of the article is to consider the peculiarities of the interpretation of the sonata form in the piano work of L. Beethoven in the light of the problem of constructing a performing mixture. The methodology of the work is based on a comprehensive study of historiographic, genre-compositional, artistic-semantic and potential-performing approaches. The scientific novelty of this article is due to the identification in the piano work of L. Beethoven and consideration of the features of the interpretation of the sonata form in these periods, the identification of figurative and dramatic prerequisites for stylistic and stylistic innovations in the last four sonatas (op. 101, 106, 109, 111). Conclusions. In the piano cycles of the late period of L. Beethoven’s work, significant changes are observed in the interpretation of the sonata form, the ratio of intra-conflict and harmonic spheres is modified, which has a significant impact on the general understanding of musical dramaturgy. In the cycles of past periods, the conflict state of thought is wider, which coincides – since the latter does not always really become a reality and exists only in human thinking as an ideal (hence the disproportion in its development). In sonata cycles op. 101, 106, 109, 111 and conflict, and the visible ideal in address rightness, their inverse relationship: the conflict is interpreted in its “narrow” meaning – as an intra-subjective state, and harmony – as an objective one – as a union of man and being. In the sonatas of the early and middle periods of L. Beethoven’s work, he limits the intra-conflict and harmonic sphere to no higher than the general level of quality; in the last sonatas, the harmonies, affirmed as the conclusion of the solution of the conflict, the character of the maximum level of generality, since they combine the ideal and effectiveness (the ideal is open in an objective meeting, and it becomes a reality for the individual), emotional and perceived, objective and perceived in content and is assumed in terms of complete merging with him personality).

Musical-Poetic Allegories of the Vocal-Instrumental Cycle “The Bestiary or Procession of Orpheus” by Louis Durey and Guillaume Apollinaire

The present work examines a work of art that is unique in its synthetic essence – the vocal-instrumental cycle called “The Bestiary or Procession of Orpheus” by L. Durey, which was based on the texts of the poem of the same name created by G. Apollinaire. The relevance of this research lies in the fact that on the basis of the literary and artistic original source created by G. Apollinaire and its composer’s interpretation by L. Durey, new facets of French modernism in the art of the 20th century are revealed. The subscript translation of the poems from “The Bestiary” by G. Apollinaire represents the poetic semantics that was developed in the musical dramaturgy of the composition by L. Durey. The vocal-instrumental cycle is explored at several levels: the historical context, the artistic concept of the authors (the literary original source by G. Apollinaire and its composer’s interpretation by L. Durey), the analysis of intonation dramaturgy, as well as the peculiarities of meaning – and form-building. In the course of the analysis, the crosscutting leit-intonemes and rhythm formulas have been identified. The system of the composer’s remarks – “states” has been considered. The sharp and flat spheres of tonality inclinations have been characterized within the framework of L. Durey’s atonal manner of writing. As a result, the vocal-instrumental cycle “The Bestiary or Procession of Orpheus” appears as a system of musical and poetic allegories that recreate the main idea of the composition: the catharsis associated with comprehending the depth of the power of art, the cognition of the love and beauty of the world, the struggle of worldly vices of an ordinary person and the Human-Poet, the victory of life over death and the achievement of the ideal perception of the world in realizing the great destiny of the Artist-Creator. The allegorical “portraits” of animals reflect not only the essence of a human nature, as it was originally stated in the medieval “Bestiary”, but the spiritual qualities of the Poet-Creator, whose mission, according to the authors, is to lead humanity from darkness to light. The idea of the authors corresponds to the aesthetic canon of Orphism, based on the identification of the author’s “I” with the mythological image of Orpheus. The catharsis, as a path of purification through deep intellectual work, underlies the idea of the cycle: the spiritual level of the Poet must correspond to his high purpose.

Madam Butterfly: tragic figure of Masochism and Melancholy

By their textual and musical dramaturgy, operatic mises en scene offer a perfect view of the conflicts inherent in human nature. The passions of Madam Butterfly - the eponymous opera of G. Puccini - foment a tragic fate that is paradigmatic of masochism and melancholy. This remarkable opera offers avenues for figuration and identification that can help inform psychoanalysts and psychotherapists in their understanding and treatment of patients with extreme psychical organisations, where neither loss and separation nor ambivalence (which links together love and hate) can be elaborated. Having recalled the bases of the dialogue between psychoanalysis and cultural productions and introduced the story of Madam Butterfly and the figures making up the narrative, the article proposes to examine the cathectic process at work. Through the many twists and turns in her story, Madam Butterfly is seen to invest in Pinkerton, irremediably sealing her fate as a young wife. The Butterfly figure is a perfect illustration of the different forms of masochism, of passiveness and the snare of melancholy. These movements highlight the intensity of the narcissistic challenges so strongly expressed through the confrontation with the loss of the object. Butterfly cannot mobilise any form of ambivalence towards Pinkerton. Only such ambivalence would, however, in the recognition of otherness, have afforded her the means to survive the admittedly painful openness to the reality of loss. She offers and abandons herself to the one who derives pleasure from breaking her butterfly wings, stubbornly refusing to turn to any other person for succour, irremediably sealing her fate for eternity.

The Second Violin Consert Of Bela Bartok In The Context Of Genre Development

Relevance of the study. One of the leading instrumental types of the concert is the violin concerto, presented in the first half of the twentieth century by almost 500 works. An important stage in the evolution of the genre during this period were the violin concertos by the outstanding Hungarian master Bela Bartok, which were firmly in the repertoire of modern performers. The second concerto (1938), dedicated to a friend of the composer, the famous Hungarian violinist Zoltán Székely, was first performed by him on May 29, 1939 in Amsterdam. Widely covered in musicological literature, however, it has not yet been considered in a genre context.Main objective(s) of the study is to find out the correspondence of Bartok’s Second Violin Concerto to the general trends in the development of the violin concerto in the first half of the 20th century and to reveal individual features of the interpretation of the genre.Methodology. In the course of the study, the following methods were used: historical – to trace the history of the development of the violin concert genre in the first half of the twentieth century; systemic – for grouping concerts of the time according to various parameters; comparative – to compare individual samples of the genre; structural-functional, intonational -dramatic, semantic – for a comprehensive analysis of the Second Violin Concerto of B. Bartok.The main results / findings and conclusions. The development trends of the violin concerto genre in the first half of the twentieth century, systematized for several parameters: stylistic features, compositional structure, imaginative concept and interpretation of the genre are considered. According to the specified parameters, the Second Violin Concerto of B. Bartok was analyzed, the correspondence of the revealed features of his organization to the main trends in the development of the violin genre was clarified, and the manifestation of individual features of his interpretation was emphasized. The circumstances of the creation of the Bartok concert are highlighted and the conditionality of the figurative concept of the work is proved. The patterns of musical dramaturgy were revealed by analyzing verbal remarks reflecting the leading figurative spheres: heroic (Risoluto), lyrical (Calmo) and scherz (Allegro scherzando). The compositional features of the concert are characterized, the updating of the three-part model typical of the genre is justified due to the introduction of the variational principle, operating at all levels of the organization of the whole. Identified folk influences in the style of Bartok’s violin concerto, in particular, the assimilation of the mode-intonational and rhythmic elements of the styles of parlando rubato and verbunkos. The interaction of solo and orchestral parts is traced; an expansion of the range of performing techniques of playing the violin is noted.

Cyclical Composition’s Dramaturgical Principles of the Easter Canon (on the Irmologion Material of the 70s – 80s of the XVII Century)

Over the centuries, church liturgical practice has formulated perfect musical forms, the structure of which is built on internal genres, united by the common idea of all parts. The classification of their musical dramaturgy is determined by the musical-philological component that builds the liturgical and artistic integrity of the cyclic form of the work. This form is represented by the Easter canon, which holds a special place among all works of Byzantine hymnography.The purpose of the research is to consider the compositional structure of the Easter canon genre in the context of its theological and musical-poetic content.The methodology of the research is based on a comprehensive music-analytical, theoretical and historical analysis.The scientific novelty of the research is a comprehensive study of the canon genre from the point of view of establishing relationships at the level of melos, poetics and liturgical content.Conclusions. The dramaturgy of the Easter canon is based on the harmonization of theological accents with the means of poetic expression and musical instruments, in particular, intonation, metro-rhythmic, leitmotifs and the like. In this way, the integrity of all 9 canon songs is achieved throughout the cyclical form. The general construction of the Easter canon is inspired by the laws of rhetorical art, as well as by the defining principles of Christian hymnographers whose work was based on a combination of Old Testament and New Testament images. Thus, the musical and poetic logic of the unfolding of the general dramaturgy of the canon genre reveals an alignment of the aesthetic component with the dominant accents of the theological idea of the Easter holiday.