Open AccessMultivariate performance principle of “Sicilian and burlesque” by A. Casella in stylistic conception of neoclassicism
Author(s) -
N. H. Kravchenko
Publication year - 2021
Publication title -
vìsnik deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv/vìsnik nacìonalʹnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv
Language(s) - English
Resource type - Journals
eISSN - 2409-0506
pISSN - 2226-3209
DOI - 10.32461/2226-3209.1.2021.229595
Subject(s) - burlesque , variety (cybernetics) , baroque , interpretation (philosophy) , style (visual arts) , literature , composition (language) , art , linguistics , history , philosophy , mathematics , statistics
The purpose of the article is the detection of neoclassicism characteristics of A. Casella in the composition “Sicilianna and burlesque”. Methodology. The intonational approach from the unity of music and speech from B. Asaief’s school in Ukraine has become the methodological basis for this work. The scientific novelty of the work. The analysis of A. Casella’s composition “Sicilianna and burlesque” has been made for the first time in the history of Ukrainian music studies. It has been done in a stylistic direction. Conclusions. The analysis has shown the polystylistic complex, which is determined by a variety of instrumental set-up, where the elements of the ancient sonata form were united with programmable and playing filling for entire. It unites the neo-baroque and neo-renaissance style characteristics with a primitivistic interpretation of semantic elements in genre typology, also generating a variety of ensemble and orchestra line-ups. The specified combination of semantic components creates the negligence in dealing with religious symbols, which is characteristic of the Italian modern (compare with atheistic beliefs of the futurists and neo expressionists in the second half of the 20th century).