Specific features of the composer’s interpretations in the trilogy of Shan Dei’s vocal ballads after Lu Sin’s prose
Journal Title: Вісник Національної академії керівних кадрів культури і мистецтв - Year 2016, Vol 1, Issue 3
Abstract
Purpose of Article. The goal of the article is to find out the specific features of the composer’s interpretations in the trilogy of Shan Dei’s vocal ballads after Lu Sin’s prose. Methodology. The research is based on the method of the comparative analysis, determined by the task to find out the specific characteristics of the composer’s interpretation of the literary composition. The author also uses the method of the analysis of genres and styles. Scientific Novelty. The scientific novelties of the research are the consideration of the genre specific features of Shan Dei’s vocal ballads after Lu Sin’s prose; the interpretation of the literary original text in the music-word composition. The existence of two phases means the leading part of the composer’s interpretation of the composition before its republishing. Lu Sin’s stories are "wrapped" into the miniatures by Sho Un Chao. They save the memory of the monument icon during the deactualization of the fibulas basis. The unity of two subjects appears. They are a writer and a composer. The unity of the vocal circle (called "Lu Sin and his heroes") is proved by its ballads which are characterized by features of portraits and plot lines too. The first two ballads are the compositions after Lu Sin stories and the last one is the anthem for the writer. The author exchanges the main characters with the famous writer. The madness, represented in a "hidden" way in the music portrait of Hian Lin, comes true in the ballad, which presents the character of Ai-Cew and attends the culmination. In the final scene, Lu Sin plays the role of the fighter against the craziness of the society. The ballads are united by the topic of "the hero and people around him" – form the fatal indifference until the death of the main character of the first ballad. Showing the aggressive behavior of the crowd in the second ballad, Shan Dei describes the adoration of the Lu Sin as the "na-tional soul" of China. Conclusions. Shan Dei’s vocal ballads have such specific features as an opera, theatrical charac-ter, out-traditional approach to the semantics, art interpretation of the philosophical conception of the "silent beauty" in the ballad "Hian Lin", comic context of in the "Ai-Cew", anthem motives in "Oh, Lu Sin!".
Authors and Affiliations
Tsao Khe
Keywords
Related Articles
- EP ID EP215064
- DOI -
- Views 89
- Downloads 0
Statement of the voice as the basis for mastering the master of verbal action
Purpose of Article. The purpose of the article is to determine the basic principles of working on the development of the stage voice, to characterize the professional qualities of the artist's voice, its signs and method...
MYTH AS A PHENOMENON OF CULTURE
The purpose of the study. This paper aims at exploring myth as a phenomenon of culture. Methodology of the study. The authors have used anthropological integrative approach, semiotic method of representing myth as a lan-...
The Old Russian style: rethinking Hellenistic and Byzantine traditions
The purpose of the article refutes the opinion that the Old Russian style inherited the traditions of metropolitan Byzantine architecture, creatively reinterpreting them, which was established in the literature since the...
Continuity in the history of guitar performance
The purpose of the work. Identification of continuity, the process of the emergence of elements of creative technology in the history of the art of guitar performance. The research methodology is a systematic approach to...
The phenomenon of “genius” in the art (synergetic models)
The purpose of the article is a comprehensive, synergetic analysis of the phenomenon of “genius” in art. Methodology of the research is due to the multidisciplinary approach, which involves the use of general scientific...