Musical recitation |
nope Musical declamation, франц. la declamation musicale, English musical declamation
1) In a broad sense – the ratio in wok. a work of speech and music. It concerns both speech and music. form and content of the structural elements of speech and music. Wok. music has great potential for accurate transmission of plural. speech features. So, ascending and descending intonations of the voice can correspond to the ascending and descending moves of the melody; speech accents – musical accents; division of speech into phrases, sentences, poetic. lines and stanzas – respectively. melody divisions. Def. importance for D. m. are features of nat. verbal language, its rhythms, the use of prose. or poetic. text (the latter has more points of contact with music).
The trend towards the most accurate reproduction in a wok. the music of poetic and even prose speech has a long history; in the definition periods with individual composers she performed very brightly (for example, the operas “The Stone Guest” by Dargomyzhsky and “The Marriage” by Mussorgsky). However, when reproducing the intonations of speech, music does not realize its rich possibilities of muses. generalizations in the melody, developing in accordance with the proper muses. regularities; wok. the part in these cases acquires a more or less pronounced character of a recitative, which does not have wide breathing and real melodiousness. It is no coincidence, for example, that Mussorgsky considered the opera The Marriage exclusively as an experiment, uch. work. Some compensation can serve as instr. accompaniment, it complements the wok. game and recreates the emotion. the subtext of speech, which is not able to fully convey the recitative wok. the consignment. A similar ratio wok. parties and accompaniment are distinguished by the mature operas of R. Wagner (born from the words “endless melody” in the vocal parts), songs by H. Wolf, etc. The other extreme in the field of declamation is the free development of melody in a vocal composition, ignoring the peculiarities of the flow of a verbal text, its accentuation, articulation, and so on. This approach to the interpretation of the text in music is characteristic of some examples of Italian. operas. Historical experience shows that the most convincing art. results are achieved in those cases when the composer chooses the “middle” path – striving to keep within the framework of the basically correct pronunciation of the text, at the same time creating a rounded melody that contains the proper muses. generalization. In this case, synthetic music poetic the image can turn out to be much richer than in the case of a simple reproduction of speech intonations, since music not only conveys the text to the listener, but also reveals the feelings and moods that naturally accompany it, which are poetic. the text displays only indirectly and limitedly. degree. A similar equality of the two tendencies mentioned above is characteristic of Nar. lawsuit pl. countries, for music. classics, both foreign (operas by W. A. Mozart, oratorios by J. Haydn, songs by F. Schubert, R. Schumann, I. Brahms, etc.), and Russian (operas and romances by M. I. Glinka, A. S. Dargomyzhsky, M. P. Mussorgsky, A. P. Borodin, N. A. Rimsky-Korsakov, P. I. Tchaikovsky and others). They notice a lot. The music of the 20th century also contains examples of D. m., combining a subtle reproduction of the features of speech and proper musical expressiveness. (operas by C. Debussy, L. Janachek, S. S. Prokofiev, D. D. Shostakovich and others).
2) The degree of fidelity to the reproduction of poetic. text, its natural will express. wok pronunciations. essay. Deviations from the correct pronunciation of the text in the wok. music, so-called. recitation errors are most often associated with accents (metric, dynamic, pitch) on unstressed syllables of the text. They arise not only when a composer creates music, but also when translating orig. wok text. prod. into another language (see Equirhythmic translation).
3) The same as melodeclamation.
References: Ogolevets A. S., Word and music in vocal and dramatic genres, M., 1960; his own, Mussorgsky’s Vocal Dramaturgy, M., 1966; Asafiev B.V., Speech intonation, L., 1971; Vasina-Grossman V. A., Music and poetic word, part 1, Rhythm, M., 1972.
