The Principle of Simultaneous Contrast in the Russian Sacred Concerto of the 19th and Early 20th Centuries
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Abstract
The article views a so-called theory of simultaneous contrast, as well as the way the simultaneous contrast principle functions in the Russian religious and secular music during the 19th and the beginning of the 20th centuries. An impact of the characteristic features of romanticism, including the very idea of contrast, on the Russian religious concerto genre has become a point of the author’s special attention. Exhibits of ambiguity in the social attitude towards the genre have been marked, as well as the formmaking role of the juxtaposition contrast has been highlighted.
Keywords: simultaneous contrast, Russian spiritual culture, religious concerto, religious and secular music
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