{"title":"巴洛克时代的室内合奏:特点和类型","authors":"I. Polskaya","doi":"10.36059/978-966-397-198-8/20-41","DOIUrl":null,"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":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"CHAMBER ENSEMBLE OF THE BAROQUE ERA: SPECIFICS AND TYPOLOGY\",\"authors\":\"I. 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引用次数: 1
摘要
室内乐是音乐艺术中最基本、最广泛、最具价值的领域之一,其流派的形成在很大程度上与巴洛克时代有关。巴洛克音乐现象长期以来受到许多欧美及国内学者的密切关注,他们研究欧洲音乐文化史,揭示其在这一关键阶段发展的特征。在现代音乐学中,对巴洛克艺术的研究水平是相当高的。然而,与这一时期室内乐合奏的现象学和语义特征、主要合奏流派形成的历史和理论方面以及表演者的功能角色模型相关的问题,仍然是音乐科学中研究最少的问题之一。这决定了这项研究的相关性和新颖性,致力于巴洛克时代室内合奏的特点和类型学,以及对其初始阶段基本原则的确定。这个问题在乌克兰音乐学中几乎没有研究过,首先在作者的作品中提出,总结了她在合奏理论和历史领域的长期工作成果:专著“室内合奏:历史,理论,美学”1和博士论文“室内合奏:理论和文化方面”2。本研究的源数据库包括音乐史和个人合奏流派领域的研究(首先是C. Ph. E.巴赫、E. M.布劳多、M.布科夫泽、I. Bialyj、L. S. Ginzburg、T. Dapkiashvili、M. Hurd、E. H. Meyer、E. Sorokina、D. Stevens、W. J. von Wasielewski等人的作品)。本研究的科学新颖之处在于,首次将巴洛克时代的室内合奏作为一种系统现象来呈现,证实了其现象学、语义学和交际特征,揭示了其主要类型和体裁模式及其形成的途径和方法。研究的目的是对巴洛克风格进行概念化
CHAMBER ENSEMBLE OF THE BAROQUE ERA: SPECIFICS AND TYPOLOGY
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