The Processes of Genre-Related and Stylistic Interaction in the Compositions of Giya Kancheli from the 1980s and 1990s
Article Sidebar
Main Article Content
Abstract
genres in the compositions by Giya Kancheli “Music for the
Living,” “Light Sorrow,” “Styx” and “Mourned by the Wind.”
They are characterized by a combination of several genres in
the integral whole as the result of the interaction of a number
of historical and modern extra-musical genres (connected with
theater, cinema and literature) with musical ones (both secular
and sacred). In the “Music for the Living” the synthesis of opera,
oratorio, philosophical long poem, parable and mystery are
complemented by regular features of the Romantic, Symbolist
and Expressionist theaters, the theater of the absurd, cinematic
dramaturgy and light-color show. The text in “Styx” is comprised
of eight blocks, in which there is a erosion of motives of the
subjects of universal and national myths, fragments of motives,
dictums and quotations, as well as phrases, words, names and
concepts. The music combines the genre features of the concerto,
symphonic poem, oratorio, liturgy for the dead and mystery rite.
The composition is formed as a polyvalent intertext. It is formed
by a assembled combinatorial kaleidoscope of stylistic clichés
from the 17th – 20th centuries in synthesis with national, cult and
folklore strata.
Keywords: Giya Kancheli, 20th century music, oratorio,
mystery, parable
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. Denisov A. Intertekstual’nost’ v muzyke: issledovatel’skiy ocherk [Intertextuality in Music: a Research Essay]. St. Petersburg: Russian State Pedagogical A. I. Herzen University, 2013. 46 p.
3. Denisova Z. Vokal’no-simfonicheskiy tsikl “Svetlaya pechal’” G. A. Kancheli (analiz verbal’nogo teksta) [Giya Kancheli’s Vocal-Orchestral Cycle “Light Sorrow” G. A. Kancheli (Analysis of the Text)]. Hudozhestvennoe proizvedenie v sovremennoy kul’ture: tvorchestvo – ispolnitel’stvo – gumanitarnoe znanie: sb. mat-lov i st. mezhdunar. zaochn. nauch.-prakt. konf. [The Work of Art in Contemporary Culture: Art – Performance – Humanities: Compilation of Materials and Articles from the International Scholarly-Practical Conference]. Chief Editor I. V. Bezginova. Chelyabinsk: South Urals State P. I. Tchaikovsky Institute for the Arts, 2013, pp. 86-91.
4. Zeyfas N. Giya Kancheli v dialogakh s Natal'ey Zeyfas [Giya Kancheli in Dialogues with Natalia Zeifas]. Moscow: Muzyka Press, 2005. 587 p.
5. Zeyfas N. Pesnopeniya: o muzyke G. Kancheli [Chants: About the Music of Giya Kancheli]. Moscow: Sovetskiy kompozitor [Soviet Composer], 1991. 277 p.
6. Kaloshina G. Dramaturgicheskie protsessy i problema tsikla v simfoniyakh Gii Kancheli [Dramatic Processes and Issues of the Cycle in Giya Kancheli`s Symphonies]. Pamyati uchiteley [In Memory of the Teachers]. Rostov-on-Don, 1995, pp. 109–119.
7. Kaloshina G. Problemy sinteza iskusstv i zhanrovykh vzaimodeystviy vo frantsuzskoy opere, oratorii i kantate XX stoletiya [Issues of Synthesis of the Arts and Interactions of Genre in 20th Century French Operas, Oratorios and Cantatas]. Sovremennye aspekty hudozhestvennogo sinteza v muzykal'nom iskusstve [Modern Aspects of Artistic Synthesis in the Art of Music]. Rostov-on-Don, 2009, pp.164–176.
8. Karamanova M. “Stiks” G. Kancheli kak polizhanrovoe sochinenie [“Styx” by Giya Kancheli as a Poly-genre Composition]. Vestnik Adygeyskogo gosudarstvennogo universiteta [Adygei State University Herald], 2012, issue 2 (99), pp. 360–364.
9. Tiba Dz. Metodika intertekstual'nogo analiza i muzyka Al'freda Shnitke [Methodology of Intertextual Analysis and the Music of Alfred Schnittke] Al'fredu Shnitke posvyashchaetsya: iz sobraniy «Shnitke-centra» [Dedicated to Alfred Schnittke: from the Collection of the “Schnittke Centre”]. Moscow State Alfred Schnittke Institute of Music. Moscow, 2003. Issue 3, pp. 181–187.