Varieties of Processes of Symphonization in the French Opera and Oratorio of the 20th and early 21st Centuries
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Abstract
of symphonization in the legacy of incidental music for the
theater and oratorios by the 20th and early 21st century French
composers, which contain a synthesis of the highest order –
movable, variable poly-genre as an interaction of musical and
non-musical genres. The role of symphonization as the most
crucial means of artistic integrity is fortiied. The following
varieties are highlighted: continual and discreet-continual
symphonization of the Wagnerian type in the operas and oratorios
of Arthur Honegger and Olivier Messiaen; chain-like structural
symphonization in the monumental and chamber genres of Daruis
Milhaud; their combination in the poly-genre compositions
of Francis Poulenc. The innovative types are presented by the
intonational-combinatorial symphonization in the compositions
of Pierre Boulez and Serge Nigg, connected with serial technique
in composition. In the context of intertextuality the stylisticcombinatorial
type of symphonization is formed (in musicals
and rock operas); upon a synesthetic synthesis the light-color
type of symphonization is formed (as in the shows of Jean-
Michel Jarres’).
Keywords: French opera, French oratorio, the theory of
musical genres, 20th century French composers
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