Neo-romantic features in the works for accordion by Anatoliy Biloshytskiy

Сподаренко, Віктор Михайлович (2016) Neo-romantic features in the works for accordion by Anatoliy Biloshytskiy Виконавське музикознавство. Науковий вісник (22). pp. 330-342.

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Abstract

In the article considered stylistic of Neo-romanticism in the works for accordion by Ukrainian composer A.Biloshytskiy. Identify the characteristics of Neo-romanticism we did out by analyzing the musical work (Concert triptych «In Spanish Style») – of the musical theme, dramaturgy, modal structures, harmonic vertical, genre invariants musical culture of Spain in correlation with artistic paradigm and aesthetics of Romanticism. In the stylization of the Spanish local coloring, Anatoliy Biloshytskyi gives particular meaning to the mood-intonation means, the national peculiarity of which lies in significant “tonality” of major dominant surrounded by two tetrachords that causes the appearance of the Phrygian mode and Phrygian dominant scale peculiar to the flamenco music style. The use of Phrygian dominant scale is determined by its artistic-figurative characteristics that become apparent because of their possibility to express higher-emotional sounding as the result of the peculiar inner contrast of the intonation-mood structure. Reproducing the typical features of Spanish music culture, Anatoliy Biloshytskyi refers to the stylization of such song-dancing genres as malaguena, jota and habanera (part II). In its episodes the composer follows the general style peculiarities of the abovementioned genres. For example, in the episode alla malaguena (part II, bars № 18 – 69) A. Biloshytskyi uses triple meter ¾, allegretto, accentuation of the second weak beat, music syntax is clearly divided into 6 music phrases with the five time introduction that is close to the stanza of literary-song text of fandango. Besides, there is preserved the Phrygian dominant scale specificity, the features of which can be observed in the first five time of the stylized theme (bars № 18 – 22, also bars №57 – 60), where in bass the descending melodic motion of tones G – F – Es – D forms lower tetrachord of Phrygian minor and in the melody there is clearly distinguished the lower tetrachord of major dominant scale: g1 – fis1 – es1 – d1. Thus, based on the analysis of musical work (Concert triptych «In Spanish Style»), we have identified characteristics of neo-romanticism. It becomes apparent in the general concept of the composition contrasting to the song-lyric intonations with the dramatic ones, both in the middle of the part (Andalusia) and at the cycle level (part II and III); in the subject of the situation – music images concretization by means of using literary titles of parts, epigraphs from the poetry by F. G. Lorca; in the process of music theme formation, in the dynamics of artistic images development; in the expression of feelings that is achieved both by general dramatic principles of music theme development and mood and harmonic meter-rhythmic peculiarities; in modulation, in chromatic sequence, and in harmonic melody of voice leading with the display of the independence of the expressive line of separate voices that are presented in the figurations of passage and melodic character.

Item Type: Article
Uncontrolled Keywords: neo-romanticism; stylistic; genre; mode organization; dramaturgy; antithesis; program music; stylization
Subjects: Articles in journals > Збірники наукових праць
Divisions: Institutes > Institute of Arts > Chair of Instrumental and Performance Skills
Depositing User: Віктор Михайлович Сподаренко
Date Deposited: 01 Dec 2016 09:39
Last Modified: 01 Dec 2016 09:39
URI: http://elibrary.kubg.edu.ua/id/eprint/17399

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