Хорова музика сучасних британських композиторів як об’єкт музикознавчого дослідження

Abstract

У статті висвітлено проблеми музикознавчого дослідження хорової музики британських композиторів другої половини ХХ століття і сучасності. Розглянуто основну проблематику вивчення сучасної британської хорової музики, а також виділено спеціальні аспекти дослідження творчості таких композиторів, як Дж. Раттер, К. Дженкінс та ін.

В статье освещены проблемы музыковедческого исследования хоровой музыки британских композиторов второй половины ХХ века и современности. Рассмотрена основная проблематика изучения современной британской хоровой музыки, а также выделены специальные аспекты исследования творчества таких композиторов, как Дж. Раттер, К. Дженкинс и др.

This article investigates the musicological study of British composers' choral music dated the second half of the 20-th century to present. The main problems of studying modern British choral music, as well as special aspects of the research works of such composers as John. Rutter, K. Jenkins, etc., are considered. Despite the enormous popularity of choral works by contemporary British authors (J. Rutter, K. Jenkins, J. Tavener) in performing practice, they still are not the subject of scientific interest in the domestic musicology. This indeed is the main problem of the British study of choral music of the second half of the 20-th century to present: there are almost no research materials on the subject matter, with the exception of a few articles of small authors. Given the historical features of the development of the British national choral tradition, especially its evolution and development at the present stage, special aspects of its perspective study are being offered. The most important and significant is the question of national identity of the British choral tradition, its historical origins and genesis. The same problem field is the issue of national and ethnic specificity «British» and «English» in the history of this tradition of musical art. Genre aspect is the base for the musicological research, which makes it possible to identify both the national identity of the choral tradition in general, and the specifics of the individual composer’s style. Another aspect is the basic stylistic specificity of choral music (the style of a particular genre, the style of the era, the style of the composer). An important question for the study of contemporary British choral music is the interaction of the individual composer’s style with national tradition (at the level of genre-style interactions), with the traditions of the «alien» cultures, as well as the problem of genre and stylistic synthesis and polystylistics. This aspect may be considered in choral works of J. Rutter, K. Jenkins, J. Tavener, B. Chilcott, E. L. Webber, N. Jackson, D. Arditti, W. Todd, and many other British composers. There in an obvious trend present in the choral works of British composers of the second half of the 20-th century to present, which is an appeal to church music genres, such as the Mass and Requiem. In this regard, the aspect of the study of contemporary British choral music as the development of the idea of the «new sacredness» (in the terminology of N. Gulyanitskаy) is specifically highlighted, which realizes itself by reviving the traditions of sacred music. Numerous versions of the liturgical genres British composers constitute the most popular contemporary choral repertoire formation, as well as they are an essential part of the creative heritage of most composers. Special research interest is the requiem genre, which is present in the work symptomatically most contemporary British composers and is a «сonstant» of each individual author’s style. In this regard, the study of principles of existence of church choral music genres in modern academic practice concert performance, as well as the originality of refraction tradition Requiem in liturgical practice of Anglicanism, and in particular the work of the composer becomes relevant.