Мелодичні засади фортепіанного стилю Ф. Шопена: актуальні музикознавчі підходи

He Venley

doi:10.31723/2524-0447-2018-26-74-86

He Venley Odessa National A. V. Nezhdanova Academy of Music. https://orcid.org/0000-0002-4315-3379

DOI: https://doi.org/10.31723/2524-0447-2018-26-74-86

Keywords: melodicity, melodic signs, author semantics, polymelodic method, piano polystylistics.

Abstract

The purpose of the article is the integrative representation of musicological approaches to the melodic paradigm of piano creativity F. Chopin as a stylistic, and thus cognitive-linguistic. The methodology of work is formed by crossing the historiographical and genre-style methods of studying the piano heritage of romantic composers. The scientific novelty of the study is determined by the approach to the melodiousness of the musical text and the melodic content of the piano works of Chopin as phenomena of stylistic nature, connected not only with the nature of the instrument, but also with the musical form of the composer's thinking and his inherent means of musical broadcasting. The conclusions of the article show that in the work of Chopin formed a polymelodic method of piano writing, which corresponds to a polygeonal basis of his work and embodied in the polystylistic content of all his works. At the same time there are specific-chopin melodic complexes - paradigmatic melodic signs, acquiring functions of author's semantic indicators.

Author Biography

He Venley, Odessa National A. V. Nezhdanova Academy of Music.

He Venley, applicant of the Department of Music History and musical ethnography Odessa National A. V. Nezhdanova Academy of Music

References

1. Asafiev, B. Chopin (1810-1849). (1922). Experience characteristics. M. [in Russian].
2. Bogdanov-Berezovsky, V. (1935). Chopin. A brief sketch of life and work. L.: Triton [in Russian].
3. Belza, I. (1960). Frederic Francishek Chopin / USSR Academy of Sciences; Institute of Art History. M.: Publishing House of the Academy of Sciences of the USSR, [in Russian].
4. Zenkin, K. (1995). Chopin's Piano Miniature. Monograph. M .: Moscow Conservatory [in Russian].
5. Belza, I. Chopin. (1960). M.: Izd.-in Academ. Sciences of the USSR [in Russian]. 6. Vieru, N. (1974). Dramaturgy of Chopin's Ballades // On Music: Problems of Analysis. M.: Sov.komp., P. 219–245. 7. Zhytomyr, D. (1960). Chopin and Schumann // F. Chopin. Articles and studies of owls. musicologists. M.: State. music ed., P. 296–322. 8. Kremlev, Yu. (1971). Frederic Chopin: sketch of life and work. M., Ed. 3. [in Russian].
9. List F. (1956). F. Chopin. M. [in Russian].
10. Mazel, L. (1971). Studies on Chopin. M. [in Russian]. 11. Milshtein, M. (1987). Essays on Chopin. M. [in Russian]. 12. Nikolaev, V. (1980). Chopin teacher. M. [in Russian]. 13. Samvelyan, T. (2000). Polyphony in Chopin's piano works. M. 17.00.02 [in Russian].
14. Solovtsov, A. (1960).Frederic Chopin: Life and Work. M. [in Russian].
15. Tyulin, Yu. (1968). On programmaticity in Chopin's works. M. [in Russian]. 16. Friederick Chopin: Collection of Articles (2000). / Editor-in-Chief Y. Yakubiak. Lviv: Spolom, [in Ukrainian].
17. Tzipin, G. (1990). Chopin and the Russian pianistic tradition. M. [in Russian].

Melodic bases of piano style of F. Chopin: actual musicological approaches