ТЕМБРОВО- ІНТОНАЦІЙНА СЕМАНТИКА У ДУХОВИХ ПАРТІЯХ СЮЇТИ «ЖОВТА РІКА – ЗОЛОТИЙ БЕРЕГ» ЧЖУ ЦЗЯХЕ: ЄВРОПЕЙСЬКО-КИТАЙСЬКІ ПЕРЕГУКИ

  • Dan Jiakun Postgraduate student, Lviv National Music Academy named after Mykola Lysenko, Lviv (Ukraine).
Keywords: Chinese orchestral music, European-Chinese musical parallels, brass instruments, timbre and intonational semantics, timbre and intonation model.

Abstract

The problem of European-Chinese dialogue and artistic parallels in
musical culture is covered in the article. This is one of the most actively
studied in the Ukrainian territory, primarily by Chinese researchers. Special
attention is paid to the theoretical issues of brass orchestral culture and
creativity in the context of Ukrainian-Chinese artistic parallels. The purpose
of the article is to highlight the main timbre and intonation semantic models
in the brass parties of «Yellow River – The Golden Beach» by Zhu Jia He and
show some excitement with famous works of European music on the example
of Borys Lyatoshynsky’s symphonic poem «On the Vistula’s banks». The
author proposes the concept of «timbre and intonational semantics» and its
model, which is substantiated and illustrated in the process of analysis. In his
interpretation, the author derives from the «intonational concept» introduced
by V.Moskalenko and the concept of «intonational image of the world» by
Yu. Chekan. It is concluded that in the symphonic poem «On the Vistula’s
banks» by B.Lyatoshynsky the timbre and intonation symphonic expressions
are an important factor. Extremely important role in this process is played by
brass instruments as «signs» of figurative and emotional semantics of a work
related to tragic rethinking of folklore material, its timbre and intonational
modulation from the original version to the modern one. The brass parties in
the work of Ukrainian culture coryphaeus B. Lyatoshynsky and the Chinese
Zhu Jia He are represented by the various timbre and semantic models
described in the analysis process. In the symphonic suite «Yellow River –
Gold Coast» by Zhu Jia He, the use of similar timbre and intonation models,
as in the work of B. Lyatoshynsky, became «symbolic» semantic phenomena
of world culture. The study may be of practical importance to future
researchers of the processes of European-Chinese dialogue and convergence phenomena in contemporary Chinese academic music, as well as to
researchers and performers of orchestral music.

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Published
2019-07-31
How to Cite
Jiakun, D. (2019). ТЕМБРОВО- ІНТОНАЦІЙНА СЕМАНТИКА У ДУХОВИХ ПАРТІЯХ СЮЇТИ «ЖОВТА РІКА – ЗОЛОТИЙ БЕРЕГ» ЧЖУ ЦЗЯХЕ: ЄВРОПЕЙСЬКО-КИТАЙСЬКІ ПЕРЕГУКИ. Scientific Collections of the Lviv National Music Academy Named After MV Lysenko, (44), 143-154. Retrieved from https://muzuniversum.com/index.php/journal/article/view/38
Section
Current vectors of contemporary musicology in the context of dialogue between c