The National and the Transnational in the Historical Reception of Pastoral Genres
Article Sidebar
Main Article Content
Abstract
The article researches the phenomenon of interaction of the national and the transnational in the history of genre on
the example of the pastoral, a unique genre in terms of the longevity of its existence (23 centuries) and the diversity of
its manifestations in various arts, including music. The concepts of the national and the transnational are elaborated by
the author in relation to the topic of research. In the sphere of genre of the musical pastoral it is advisable to examine
two contrasting variants of interaction of the national and the transnational. The first of these is connected with the
reception of the Italian madrigal (the chamber-vocal variety of the pastoral) in England of the late 16th and early 17th
centuries, when the processes of adaptation of a foreign genre did not lead to its total assimilation on the soil of a new
nation. The other variant is that connected with the musical-theatrical variety of the genre: it is the example of the
adaptation of the Italian scenic pastoral France, the result of which was the formation of an individual national model
of the genre.
The cult of aestheticized shepherds and shepherdesses in the literature précieuse, the subject of “fêtes galantes”
in painting and theater at that time, the activities of beau-monde salons, etc. – all of this created a special milieu, in
which the concept of “gallantry” was developed. This became one of the chief aesthetical concepts of French culture,
for which the pastoral became the favorite material and form of artificial transformation. It is not perchance that such
a unique and representative genre model – the French gallant pastoral – subsequently, in its turn, becomes an entity of
transnational influences.
Thereby, the examination of the dialectics of the national and the transnational is capable of enriching the research
of genre by means of new perspectives.
Keywords: genre, the national, the transnational, pastoral, madrigal, style galant
Article Details
Copyright
The rights on the results of intellectual activity and equated means of individualization are protected in accordance with Part IV of the Civil Code of the Russian Federation. The authorship, author's name, executor’s name, inviolability of the work and result of execution are protected by the rules of Part IV of the Civil Code of the Russian Federation of the author or executor, regardless of providing legal protection of such results of intellectual activity at the time of their forming.
Copyright laws regulate the civil legal relations for using works of science, literature and art. Such relationships are formed as the result of the author’s writing his or her texts. In this case the author can rightfully claim copyright of the work.
The author has certain rights to reuse the work (see: “Ethical Aspects in Terms of Multifold Publications).
Licenses
All copyrights on the articles belong to their authors. The author transfers the rights on using the article the publisher.
PDF versions of scholarly articles of the journal PMN are published by using the license Attribution Non-Commercial No Derivatives cc by-nc-nd, allowing loading and distributing works on the assumption of indicating the authorship. The works may not be changed in any way or used for commercial interests.
Criteria for Authorship, Co-authorship
The term “author” refers to all persons (co-authors) who have made a substantial contribution to conducting the research and creation of the manuscript and responsible for its content. The person (author) who has submitted the manuscript to the editorial board shall bear responsibility for the complete list of the group of authors and the changes made to the manuscript in accordance with the results of the peer reviewing and editing.
1. Authorship is based on the following criteria:
1) The author made a substantial contribution to the research activity and development of concept, collected the data, made analysis and interpretation of the data.
2) The author carried out the writing of the text of draft articles and edited it attentively and substantially.
3) The author approved the final version of the article prior to its submission.
4) The author bears responsibility for the integrity of all parts of the manuscript.
2. The authors shall guarantee that the submitted manuscript is the original work.
3. Scholarly reviews for some issue or other should be objective, present material in a wide range and at the same time take into account the views of the author of the review.
4. The authorship of scholarly publications is obligated to reflect accurately the contribution of individuals to the research activity, with specific information about the authors.
5. The authors may not mislead the readers by publishing acknowledgements of gratitude to people who were not actually involved in writing the work. Other persons who made contribution to the work, but are nevertheless not the authors, may be listed in the rubric of “Acknowledgements,” with indications of the type and extent of their activities.
6. Authors are obligated to provide a description of their contribution to the publication.
7. The order of authorship must be a joint resolution of co-authors. The authors should be ready to explain the order of their enumeration and listing.
8. The authors shall be entirely responsible for the correct definition of authorship acting in accordance with the rules adopted in their institution.
9. Investigators must ensure that only those persons who meet the criteria for authorship (that made a significant contribution to the work), shall be considered the authors, and the researchers who do not merit authorship will be excluded from the list of authors.
References
2. Korobova A. G. Pastoral’ v muzyke evropeyskoy traditsii: k teorii i istorii zhanra: issledovanie [The Pastoral in the Music of the European Tradition: towards the Theory and History of the Genre: a Study]. Ekaterinburg: Ural State M.P. Mussorgsky Conservatory (Academy), 2007. 656 p.
3. Kraskovskaya T. V. Kontsept “natsional’noe” v “Letopisi pechati Respubliki Kareliya” (1980–1993) [The Concept of the “National” in the “Chronicles of the Printed Editions of the Republic of Karelia” (1980–1993)]. Problemy muzykal’noy nauki [Music Scholarship]. 2014, No. 2 (15), pp. 9–13.
4. Rolland R. Muzykal’no-istoricheskoe nasledie: v 8 vyp. Vyp. 2: Opera v XVII v. v Italii, Francii, Germanii i Anglii; Gendel’ [Rolland, Romain. Legacy of Music History. In 8 Issues. Issue 2: The Opera in the 17th Century in Italy, France, Germany and England; Handel]. Moscow: Muzyka Press, 1987. 391 p.
5. Khannanov I. D. Natsional’noe nachalo protiv “natsionalizma”: naskol’ko “absolyutna” nemetskaya muzyka? [The National Aspect vs. “Nationalism”: How “Absolute” is German Music?]. Problemy muzykal’noy nauki [Music Scholarship]. 2013, No. 1 (12), pp. 169–170.
6. Yakimovich A. K. Ob istokakh i prirode iskusstva Vatto. Zapadnoevropeyskaya khudozhestvennaya kul’tura XVIII veka: sb. st. [About the Sources and the Nature of the Art of Watteau. Western European Artistic Culture of the 18th Century: Collection of Articles]. Moscow: Nauka, 1980, pp. 41–78.