Open AccessComposer’s interpretation of the Christian ethos in the music art of sovereign Belarus
Author(s) -
Т. Г. Мдивани
Publication year - 2020
Publication title -
vescì nacyânalʹnaj akadèmìì navuk belarusì. seryâ gumanìtarnyh navuk
Language(s) - English
Resource type - Journals
eISSN - 2524-2377
pISSN - 2524-2369
DOI - 10.29235/2524-2369-2020-65-2-203-208
Subject(s) - interpretation (philosophy) , sovereignty , music , musical , singing , ethos , polyphony , literature , art , aesthetics , visual arts , philosophy , music education , law , linguistics , management , politics , political science , economics
For the first time in the Belarusian liturgical musicology analysis of the attitude of domestic composers to Christian sources: themes, images, style, church singing culture in general is carried out. It is proved that the interest of the Belarusian musicians of the period of state sovereignty focuses on two Christian denominations – the Western and Eastern European; that the compositions of composers in their essence are representatives of musical art, and not of liturgical singing practice, and also, that the basis of the composer’s work is the phenomenon of interpretation. Three types of composer interpretation of church tradition are distinguished: «leverage» (transposition, re-establishment), author’s transcription and conventionality. The main conclusion of the work: the spiritual stratum of the national musical culture of modern times, presented by composer creativity, is a peculiar aesthetic euphemism between Eastern and Western Christianity, which manifests itself in various aspects.