播放库班哥萨克民歌的声乐和编曲解决方案:方法与实践

Anastasiya Vladimirovna Mironova
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引用次数: 0

摘要

研究对象是作为现代世界民歌保护的理论和方法基础的表演。这项工作的主题是通过声乐编排使用诠释来翻译来源的各种工具。本研究的目的是找到理解库班哥萨克歌曲民间传说的表演技巧,通过对原始资料的新解读对真正的听众进行说明性普及。在确定歌曲表演的实质性基础时,特别关注民间音乐家 V. G. Zakharchenko(1938 年出生)、A. D. Bigdai(1855-1909 年)、G. M. Kontsevich(1863-1937 年)的音乐集,他们为库班哥萨克民间歌唱艺术的基础做出了重大贡献。与此同时,通过对专业和业余歌唱家实践中的各种声乐编配进行分析,可以推测在形成对民间文学文献的原创性解读时,插叙的模糊性。本研究的理论依据是在现代研究的艺术史动态背景下分析地方性民俗歌唱概念的策略。作品的方法论核心是通过对库班哥萨克民歌的声乐加工体现,确定保留传统表演的要素。作者的研究方向是以声乐家的个性为基础,在编排表演的构成要素综合体中发展起来的,包含了对表演多元性的个性化诠释。哥萨克民间传说的表演技巧已经形成。在分析民间音乐素材时(有选择地)确定了特殊的重音,以建立新的表演技术特征。该研究的科学新颖性在于哥萨克文化的起源,这为作者向现代听众保存和转换音乐素材提供了建设性的方向。通过声乐表演解决方案的表演机制系统,揭示了歌曲材料在体裁表演部分的特征。翻译机制的衍生方向开辟了库班哥萨克民歌表演的新面貌,为后代保存传统和改造民俗文献提供了多方面的选择。
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Vocal and arranging solutions for broadcasting Kuban Cossack folk songs: methodology and practice
The object of the research is performance as a theoretical and methodological basis for the preservation of folk songs in the modern world. The subject of this work is a variety of tools for translating sources through the use of interpretation through vocal arrangements. The purpose of this study is to find performance techniques for comprehending the folklore of the Kuban Cossack song, illustrative popularization of the real listener through a new reading of the original source. In identifying the substantial foundations of song performance, special attention is focused on the music collections of folklorists V. G. Zakharchenko (born 1938), A. D. Bigdai (1855-1909), G. M. Kontsevich (1863-1937), who made a significant contribution to the foundations of the Kuban Cossack folk singing art. Along with this, the analysis of a wide range of vocal arrangements in the practice of professional and amateur vocalists provides a postulation about the ambiguity of interpolation in the formation of an original reading of folklore documents. The theoretical justification of this study is based on the tactics of analyzing endemic folklore singing concepts in the context of the art history dynamics of modern research. The methodological core of the work identifies the elements of preserving traditional performance through the vocally processed embodiment of Kuban Cossack folk songs. The author's direction has been developed in the complex of the constituent elements of the arranging performance, based on the personality of the vocalist, containing an individual interpretation of the performing plurality. The performing techniques of folklore Cossack sources has been formed. Exceptional accents are identified in the analysis of musical folklore sources (selectively) to establish new technical characteristics of performance. The scientific novelty of the research lies in the genesis of Cossack culture for the author's constructive orientation of ways to preserve and transform musical material to a modern listener. The characteristics of the song material according to the genre-performing component, expressed by the system of mechanisms of performance by vocal-performing solutions, are revealed. The derived orientation of the translation mechanisms opens up new facets of the performance of Kuban Cossack folk songs for the preservation of traditions with multifaceted options for the transformation of folklore documents for subsequent generations.
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