MASTERING THE EUROPEAN GENRE SYSTEM IN THE MUSIC OF BURYATIA
UDC index:
785.11(571.54)
DOI: 10.31773/2078-1768-2019-48-143-150
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198399
Article file: Download
Information about authors: Rusinova Olga Artemovna, PhD in History, Associate Professor, East Siberian State Institute of Culture (Ulan-Ude, Russian Federation). E-mail: rina.rubin@yandex.ru
Annotation: The article is devoted to the problem of forming the musical professionalism of the written tradition in national creative schools. One of the important components of the model of composing creativity functioning is the formation of the genre system. The goal of the article is to identify the dynamics of mastering the genres of the European type, radically different from the national tradition. The chosen symphonic works of the composers of Buryatia comprise the material under study as they occupy the leading position in the genre panorama of the Buryat music determined by quantitative superiority, breadth of genre representation, multidimensional influence on other genre spheres. The musical scores and claviers of the symphonic works from the libraries and archives of the establishments, composers’ personal archives as well as a few published scores laid the basis of the study. The article considers the works of the 1930s-1970s that are connected with the significant differences of that period from the subsequent development of the Buryat music. The formation of the symphonic genres in Buryatia has been revealed to be marked by a number of features, at the same time, the works were created by the Russian and aspiring Buryat composers; at the initial stage the models of all elements of the European symphonic genre system have already been mastered while that process is usually gradual in culture under formation. Suite proved to be the most stable genre which mastering was constant and steady. In certain periods, it displaced other genres developing alongside with them and showing its distinct quantitative predominance. The analysis of the 20 suites of V. Moroshkin, L. Knipper, B. Mayzel, S. Ryauzov, D. Ayusheev, B. Yampilov, Z. Batuev, G. Daduev allowed to identify the features of commonality and differences. Many of these works are differentiated by common conception and similarity of structure that are caused by belonging to one branch of symphonic genre. The predominant sphere of images is effectiveness embodied through dance that is due to the type of symphonic genre and the works subject matter: all suites present happy life of Soviet Buryatia. The study of the thematic basis and composition of the suites showed the progress: if during the period of 1930s -1950s the works were based on the quoted folklore tunes, then in 1950s – 1960s, the thematism is basically the product of the composing creativity. A simple three-part form with a middle type of development, rondo, three-five-part and variation forms give way to the dominant position of a complex three-part form with the contrasting middle. The common drawbacks were: the lack of sections balance due to which the form of the whole was not always balanced, and transitions from section to section. The analysis made allows to conclude that there was a process of accumulation of expressive means and methods of work in a polyphonic texture in the suite genre that permitted to move further to creating works of another dramatic type, reflecting the complex dramatic collisions. Within the suite genre, the type of original composing thematism was formed, techniques of the conception development and different compositional schemes were mastered.
Keywords: suite, polyphony, composition, dramaturgy, principles of development, symphony genres.
DOI: 10.31773/2078-1768-2019-48-143-150
Article ID in the RSCI: https://elibrary.ru/item.asp?id=39198399
Article file: Download
Information about authors: Rusinova Olga Artemovna, PhD in History, Associate Professor, East Siberian State Institute of Culture (Ulan-Ude, Russian Federation). E-mail: rina.rubin@yandex.ru
Annotation: The article is devoted to the problem of forming the musical professionalism of the written tradition in national creative schools. One of the important components of the model of composing creativity functioning is the formation of the genre system. The goal of the article is to identify the dynamics of mastering the genres of the European type, radically different from the national tradition. The chosen symphonic works of the composers of Buryatia comprise the material under study as they occupy the leading position in the genre panorama of the Buryat music determined by quantitative superiority, breadth of genre representation, multidimensional influence on other genre spheres. The musical scores and claviers of the symphonic works from the libraries and archives of the establishments, composers’ personal archives as well as a few published scores laid the basis of the study. The article considers the works of the 1930s-1970s that are connected with the significant differences of that period from the subsequent development of the Buryat music. The formation of the symphonic genres in Buryatia has been revealed to be marked by a number of features, at the same time, the works were created by the Russian and aspiring Buryat composers; at the initial stage the models of all elements of the European symphonic genre system have already been mastered while that process is usually gradual in culture under formation. Suite proved to be the most stable genre which mastering was constant and steady. In certain periods, it displaced other genres developing alongside with them and showing its distinct quantitative predominance. The analysis of the 20 suites of V. Moroshkin, L. Knipper, B. Mayzel, S. Ryauzov, D. Ayusheev, B. Yampilov, Z. Batuev, G. Daduev allowed to identify the features of commonality and differences. Many of these works are differentiated by common conception and similarity of structure that are caused by belonging to one branch of symphonic genre. The predominant sphere of images is effectiveness embodied through dance that is due to the type of symphonic genre and the works subject matter: all suites present happy life of Soviet Buryatia. The study of the thematic basis and composition of the suites showed the progress: if during the period of 1930s -1950s the works were based on the quoted folklore tunes, then in 1950s – 1960s, the thematism is basically the product of the composing creativity. A simple three-part form with a middle type of development, rondo, three-five-part and variation forms give way to the dominant position of a complex three-part form with the contrasting middle. The common drawbacks were: the lack of sections balance due to which the form of the whole was not always balanced, and transitions from section to section. The analysis made allows to conclude that there was a process of accumulation of expressive means and methods of work in a polyphonic texture in the suite genre that permitted to move further to creating works of another dramatic type, reflecting the complex dramatic collisions. Within the suite genre, the type of original composing thematism was formed, techniques of the conception development and different compositional schemes were mastered.
Keywords: suite, polyphony, composition, dramaturgy, principles of development, symphony genres.
