English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Tools annual

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Presents the access of premium content as premium feature

Premium Content

Global: Zendy Plus annual

Global: Zendy Free Plan

The purpose of the study is to prove the innovative approaches of F. Schubert in vocal works on the example of his later opuses – the vocal cycle „Winterreiseˮ, op. 90 („Winter Roadˮ) and the song collection „Der Schwanengesangˮ („Swan Songˮ). The methods of this proposed scientific article are based on the research approaches (historical, compare, analytical), which allow to us to follow the path of dramatization of the song in the late works of F. Schubert, as well as to determine the conformity of the vocal intonation to the poetic text. The material of scientific intelligence there are ten separate songs, namely, five songs from the vocal cycle „Winter Pathˮ and five songs on the lyrics by G. Heine from the collection „Swan Songˮ. In our opinion, they are not only indicative, but also similar in form, methods and content. The scientificnovelty of this research is to in the treatment to the issues of determining the correspondence of vocal intonation to a poetic text. Conclusions. Lyrics by Wilhelm Muller and Heinrich Heine are the peak of Schubertʼs vocal lyrics, the starting point for the further development of the song (romance) genre. Simplicity and the associated „sociability” of song intonation, on the one hand, naturally continue the traditions of the Austro-German song Lied. However, while the melody of Schubert reveals time fundamentally new qualities caused by the composerʼs innovative attitude to its formation. The reason for this is a great attention to the verbal text. The close interaction of poetic words and music, especially in the late works of the composer romantic, gives rise to a fundamentally new type of vocal intonation, a new level of voice and accompaniment and, as a final result, the emergence of a new quality of the chamber-vocal work – „poems with music”, thereby pushing on the further path of development of chamber vocal genres.

THE INNOVATIVE INTERPRETATION OF THE CHAMBER-VOCAL GENRE IN THE LATE WORKS OF SCHUBERT