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THE WREATH OF ROMANTIC FRAGMENTS. DANTE AND LISZT 浪漫碎片编成的花环。但丁和李斯特

MUSICAL ART: HISTORICAL AND THEORETICAL DISCOURSE Pub Date : 1900-01-01 DOI: 10.36059/978-966-397-198-8/42-60

O. Roshchenko

{"title":"THE WREATH OF ROMANTIC FRAGMENTS. DANTE AND LISZT","authors":"O. Roshchenko","doi":"10.36059/978-966-397-198-8/42-60","DOIUrl":"https://doi.org/10.36059/978-966-397-198-8/42-60","url":null,"abstract":"(according to F. Schlegel), is to establish creative parallels between Dante and Liszt based on the restoration of the continuum of discretely organized biographies of the geniuses. The study is based on the principle of alternating fragments of creative biographies of Dante and Liszt, resulting in a special type of the dialogue, presented in the form of a “wreath of fragments”. The “links of the chain” of biographical fragments are determined by the stages of the path of Dante and Liszt to creating prophetic visions of the afterlife in the “Divine Comedy”. The oeuvres of geniuses as “fragments of a general confession” 2 (according to J. W. von Goethe) supplement the events of their biographies. This work is based on the method of comparative biographies dating back to Plutarch, transformed under the influence of genre features of a romantic fragment. A romantic “example” of the design of comparative biographies is the novel by E. T. A. Hoffmann (1821), in the art field of whom the fragments of “biographical scripts” 3 are combined – the crazy Kapellmeister Johannes Kreisler and the Tomcat Murr. The aphoristic nature and Universalism, analytism and symbolism, art and science, philosophy and theology, myth and history, endless and finite, ironic and tragic interact in the genre of a romantic fragment 4 . In the fragment genre, F. Schlegel (“Critical Fragments”, 1797) put forward the concept of romantic irony – the embodiment of the artist’s inner freedom, “Fragmentary genius”, “The spirit of transcendental buffoonery”, allowing you to rise “above all that is conditioned, including your own art, virtue, and genius” 5 . The purpose of","PeriodicalId":236778,"journal":{"name":"MUSICAL ART: HISTORICAL AND THEORETICAL DISCOURSE","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121268536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

CHAMBER ENSEMBLE OF THE BAROQUE ERA: SPECIFICS AND TYPOLOGY 巴洛克时代的室内合奏:特点和类型

MUSICAL ART: HISTORICAL AND THEORETICAL DISCOURSE Pub Date : 1900-01-01 DOI: 10.36059/978-966-397-198-8/20-41

I. Polskaya

{"title":"CHAMBER ENSEMBLE OF THE BAROQUE ERA: SPECIFICS AND TYPOLOGY","authors":"I. Polskaya","doi":"10.36059/978-966-397-198-8/20-41","DOIUrl":"https://doi.org/10.36059/978-966-397-198-8/20-41","url":null,"abstract":"INTRODUCTION One of the fundamental, widespread and valuable areas of musical art, is the chamber ensemble, whose genre formation is largely associated with the Baroque era. The phenomenon of baroque music has long attracted the close attention of many European, American and domestic scholars who study the history of European musical culture and disclose the characteristic features of its development at this crucial stage. In modern musicology, the level of Baroque art research is quite high. However, the problems associated with the phenomenological and semantic specifics of the chamber ensemble of this period, historical and theoretical aspects of the main ensemble genres formation and performer’s functional role models, still stay one of the least studied in music science. This is what determines the relevance and novelty of this study, devoted to the specifics and typology of the Baroque era chamber ensemble as well as to the identification of its initial stage basic principles. This issue, almost unstudied in Ukrainian musicology, was first presented in the author’s works summarizing the results of her lond-term work in the field of an ensemble’s theory and history: the monograph “Chamber ensemble: history, theory, aesthetics” 1 and the doctoral dissertation “Chamber ensemble: theoretical and cultural aspects” 2 . Source database of the study consists of researches in the field of music history and individual ensemble genres (first of all works of C. Ph. E. Bach, E. M. Braudo, M. Bukofzer, I. Bialyj, L. S. Ginzburg, T. Dapkiashvili, M. Hurd, E. H. Meyer, E. Sorokina, D. Stevens, W. J. von Wasielewski etc.). The scientific novelty of the research is that the chamber ensemble of the Baroque era is first presented as a systemic phenomenon, its phenomenological, semantic and communicative specifics are substantiated, its main types and genre models, ways and methods of their formation are revealed. The aim of the research is the conceptualization of the Baroque","PeriodicalId":236778,"journal":{"name":"MUSICAL ART: HISTORICAL AND THEORETICAL DISCOURSE","volume":"96 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126531943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1