Sacred-Musical Work of Authorship: the Genre’s Specifics
https://doi.org/10.25281/2072-3156-2015-0-5-89-93
Abstract
The article examines the genre specifics of the sacred-musical works of authorship; on the one hand, they belong, directly or indirectly, to the Orthodox Church, on the other hand, they are connected with the composer’s individual creative thinking, which makes them exceed the bounds of the church choir up to the concert sphere. Thus, a phenomenal feature of the sacred-musical works of authorship is their predominant tendency toward either liturgical or concert performance environment. The specifics of the sacred-musical works, in the context of one or another performance environment, are considered in terms of the four aspects: ontological, of the rites of divine service and the concert program realization, communicative, and compositional.
References
1. Gardner I. A. Bogosluzhebnoe penie Russkoi pravoslavnoi tserkvi. Sushchnost’. Sistema. Istoriya, vol. 1. Sergiev Posad, 1998, 498 p.
2. Medushevskii V. V. Dukhovnyi analiz muzyki. Moscow, 2014, 630 p.
3. Protopopov V. V. Muzyka russkoi liturgii. Problemy tsiklichnosti. Moscow, 1999, 200 p.
4. Rakhmanova M. P. A. T. Grechaninov, Istoriya russkoi muzyki, vol 10A. Moscow, 1997, pp. 170—216.
5. Rakhmanova M. P. Novoe napravlenie v dukhovnoi muzyke: istoricheskie tendentsii i khudozhestvennye protsessy, Istoriya russkoi muzyki, vol 10B. Moscow, 2004, pp. 392—456.
6. Sokhor A. N. Esteticheskaya priroda zhanra v muzyke, Voprosy sotsiologii i estetiki muzyki, vol. 2. Leningrad, 1981, pp. 231—293.
7. Kholopova V. N. Muzykal’nye emotsii. Moscow, 2010, 348 p.
Review
For citations:
Kovalev A.B. Sacred-Musical Work of Authorship: the Genre’s Specifics. Observatory of Culture. 2015;(5):89-93. (In Russ.) https://doi.org/10.25281/2072-3156-2015-0-5-89-93
Views:
642
Email this article 