Andrey Shtogarenko’s third symphony (“Kyivan”): analysis experience in the light of musical epic

Authors

DOI:

https://doi.org/10.31318/2522-4190.2018.121.133220

Keywords:

The Third symphony («Kievan») of Andrey Shtogarenko, musical epic, narration, plot, epic modus, conservative epic representative

Abstract

Till present time no professional profound analysis of musical-epic specifics of the third symphony (“Kyivan”) have been done in Ukraine and that determines the topicality of the article. The aim of the researchis the study of the Third symphony («Kyivan») of Andrey Shtogarenko from the position of musical epic. A special way of constructing an epic integrity is singled out – a narrative about events that forms the plot of a composition in which the epic modus is actualized. It is noted that the narrative of the epic plan is often predetermined by the program formulated in the title of the composition. The evidence of this was the name of the symphony.

The methodology of the research is based on the combination of various approaches. The historic and cultural, as well as musical methods were applied for identifying of historic retrospective of Ukrainian culture development, in particular musical, focused in the title of the symphony – “Kyivan”. These methods helped to study eventive narration of epic plan of musical and art union, conditioned by the program. Philological method was used for definition of semantics of some titles of musical-performing terms and musical instruments, actualizing epic positioning. Musical-theoretic method was used in complex poetic analysis of symphony musical epic from the standpoint of thematic, harmonic language, facture, volume and temp dynamics. The genre-stylistic method allowed to specify and characterize genre-stylistic view of musical and epic unity of the composition from the perspective of positioning of communicative and objective, group (collective) type of art expression. Herewith the methods of comparative and interpretation analysis were highly applied.

Author Biography

Oksana Sergіeva, Odessa National A. V. Nezhdanova Academy of Music

Сергієва О. В.

References

Aksenov, V. (2010), “Reflections on the Genre as a Scientific Concept and Paradigm of Artistic Creativity (on Examples from Modern Symphonic Music)”, available at: http://2010.gnesinstudy.ru/wp-content/uploads/2010/01/Axionov.pdf (accessed 15 January 2016).

Аkulovich, V.I. & Bruncev, V.A. (2015), “The Psaltery in the Musical Culture of Russia in the Late XIX – Early XX Century: Nikolai Ivanovich Privalov and Osip Ustinovich Smolensky”, Trudy SPBGIK [Proceedings of the St. Petersburg State Institute of Culture], vol. 207, pp. 114-151 [in Russian].

Aranovskij, M. (1987), “The Structure of the Music Genre and the Current Situation in Music”, Muzykal’nyj sovremennik [Musical Contemporary], vol. 6, pp. 5-44 [in Russian].

Balashov, D.M. & Novichkova, T.A. (2001), “Russian Epos of the Bylina”, Byliny [Bylinas], vol. 1, pp. 21-78 [in Russian].

Bonfel’d, M. (2006), Music: Language. Speech. Thinking. A Trial of System Research of Musical Art, Kompozitor, St. Petersburg, 648 p. [in Russian].

Ivanytskyi, A.I. & Bursa, A.I. (Eds.) (2010), The History of Ukrainian Music of the Twentieth Century: a Textbook, Osvita Ukrainy, Kyiv, 268 p. [in Ukrainian].

Vinogradov, G.S. (1985), Andrey Shtogarenko, Muzychna Ukraina, Kyiv, 54 p. [in Russian].

Vlasova, Z.I. (2001), Skomorokhs and Folklore, Aletejja, St. Petersburg, 524 p. [in Russian].

Hordiichuk, M. (1973), “Andrey Shtogarenko”, in Mokrytska, L. (Ed.), On the Musical Roads. Articles and Reviews, Muzychna Ukraina, Kyiv, pp. 142-148 [in Ukrainian].

Hordiichuk, M. (1984), “The Third symphony («Kievan») of A. Shtogarenko”, in Kordun, V.M. (Ed.), Music and Time: Intelligence and Articles, Muzychna Ukraina, Kyiv, pp. 296-299 [in Ukrainian].

Zinkevich, Ye.S. (1986), Dynamics of Renewal: Ukrainian Symphony at the Present Stage in the Light of the Dialectic of Tradition and Innovation (1970s – early 80s), Muzychna Ukraina, Kyiv, 184 p. [in Russian].

Avenarius, P. (1902), The Book of Bylinas. Collection of Selected Samples of Russian Folk Epic Poetry, 6th ed., Tipo-litografiya Tovarishchestva I.N. Kushnerev i K0, Moscow, pp. 3-320, I-XХХIX [in Russian].

Korykhalova, N.P. (2000), Musical and Performing Terms: Emergence, Development of Meanings and Their Shades, Using in Various Styles, Kompozitor, St. Petersburg, 272 p. [in Russian].

Pashina, O.A. (Ed.) (2009), Folk Musical Creativity: a Textbook, Kompozitor, St. Petersburg, 568 p. [in Russian].

Rogal’-Levickij, Dm. (1956), “The Modern of Orchestra”, Sovremennyy orkestr [The Modern of Orchestra], Muzgiz, Moscow, vol. 4, 315 p. [in Russian].

Syroid, O. (2013), “Features of the Functioning the the Peculiarities of Functioning and Interpretation of Psalma «Oh, the Evening Star has Risen...»”, Rodyna Kolessiv – spadkoiemnist naukovo-mystetskykh tradytsii (z nahody 140-richchia vid dnia narodzhennia akademika Filareta Kolessy) [The Kolessas: the Succession of Scholarly and Artistic Traditions (Dedicated to the 140-th Birth Anniversary of the Academician Philaret Kolessa)], vol. 13, pp. 363-379 [in Ukrainian].

Sollertinskiy, I. (1963), “Historical Types of Symphonic Dramaturgy”, in Druskin, M. (Ed.), Historical Studies, 2nd ed., Muzgiz, Leningrad, pp. 335-346 [in Russian].

Holy Assumption Pochayiv Lavra. Official site (2017), “Pages of History”, available at: www.pochaev.org.ua/?pid=1382 (accessed 11 August 2017).

Khivrych, L. (1979), “About Folk Sources of Melody A. Shtogarenko”, in Zolochevskyi, V.N., Borovyk, M.K. & Kravtsov, T.S. (Eds.), Creativity of A. Shtogarenko: a Collection of Articles, Muzychna Ukraina, Kyiv, pp. 46-56 [in Ukrainian].

Shtoharenko, A. (1975), The Third («The Kiev one») Symphony by A. Shtogarenko: Score, Muzychna Ukraina, Kyiv, 212 p. [in Ukrainian, Russian, English, French, German & Spanish].

Published

2018-03-29

Issue

Section

Art studies