M. RAVEL'S SPANISH RHAPSODY: TO THE QUESTION OF THE GENRE ORIGINALITY OF THE COMPOSITION

G. Cheremnykh, Svetlana Ivanovna Miagkova
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Abstract

The subject of the study is Maurice Ravel's "Spanish Rhapsody" arranged for two pianos. The purpose of this article is to consider the genre features of the work, based on the refraction of the principles of rhapsody and suite. The performing means used by the composer in the implementation of the program idea of the work are also of research interest. The methodology of this study was made up of holistic and comparative approaches to the study of a musical composition. The novelty of the article lies in the fact that the study generalizes and concretizes the features of form formation in the work, which contributes to the study of the composer's creative method, the study of his peculiarities of working with cyclic forms. In the course of the study, the author comes to the conclusion that in M. Ravel's "Spanish Rhapsody" the features of directly rhapsody are reflected, expressed as a comparison of contrasting folklore layers in a single whole, features of suite, expressed in a generalized interpretation of Spanish imagery on the one hand and the composer's appeal to the genre models of a baroque dance suite, on the other. In addition, the suite principle in the structure of the form of the work is embodied in a specific impressionistic refraction of the genre features of Spanish dance folklore in each of the parts of the form. The obtained results of the work will contribute to the conscious interpretation of M. Ravel's "Spanish Rhapsody" arranged for two pianos from the point of view of the principles and laws of shaping and pianistic means of impressionistic expressiveness in the expression of Spanish images in music.
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拉威尔的西班牙狂想曲:论作曲的体裁独创性问题
这项研究的主题是莫里斯·拉威尔为两架钢琴改编的《西班牙狂想曲》。本文的目的是在对狂想曲和组曲原则进行折射的基础上,探讨该作品的体裁特征。作曲家在实现作品的纲领思想时所使用的表演手段也是值得研究的。这项研究的方法论是由整体和比较的方法来研究一个音乐作品。本文的新颖之处在于对作品中曲式形成的特点进行了概括和具体化的研究,有助于研究作曲家的创作方法,研究他使用循环曲式的特点。在研究过程中,作者得出结论:拉威尔的《西班牙狂想曲》体现了直接狂想曲的特点,表现为对一个整体中不同民俗层次的比较,表现为组曲的特点,一方面表现为对西班牙意象的概括解读,另一方面表现为作曲家对巴洛克舞曲组曲类型模式的诉求。此外,作品形式结构中的组曲原则体现在形式的每个部分对西班牙舞蹈民俗类型特征的具体印象主义折射中。本文的研究结果将有助于从西班牙音乐形象的塑造原则和规律以及印象派表现力的钢琴手法的角度,对拉威尔的《西班牙狂想曲》进行有意识的解读。
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