Історичний контекст російського романсу як складова предмету виконавської інтерпретації
History context of Russian romance as component to object of the performance interpretation

Summary/Abstract: The purpose of the article is a history argumentation of the natural character of "manifestation" to genre genetic Spanish romance in the European art world and in Russian especially, in the relationship, including, with shaping on the wave of sentimentalism and “Sturm und Drang” style of Biedermeier directions and solo chamber vocal during the one while inheriting traditions of the salon and national song cultures in their actual social-political directivity. The methodology of the work forms intonation approach of the school B. Asafiev in Ukraine, with special separation genre-style cоmparison and hermeneutics foreshortening of the last, as this bequeathing great G.Adler, which directed studies Asafiev, as well as it was perceived and builtin system music history hermeneutics in works Liu Binjang, E.Markova and others. The scientific novelty of the work is determined that for the first time in Ukrainian musicology music history hermeneutics is attracted to an explanation of the romance phenomenon in Russian music and straightening to concepts Russian romance as the independent culture of the expression in performance art and in composer practical person. For the first time in specified foreshortening appear the tumblings from chant to the style of romance and entailment in it practical persons of the spiritual chant, honored Biedermeier and generation to Restorations formed romance preference in compositions and in performance practical person. Conclusions. Russian romance as genre quality was defined beside factors. First, this chronological index - at the period from XVIII to XIX cl., shaping on intersection spiritual lyric poets edging and European-actual "hispanicism," which were historically brought forth with the end XVIII on the first half XIX centuries, saving early operatic performing installation, going from madrigal border of spiritual and worldly in art. Secondly, this typology-expressive quality, formed inside-genre varieties derived in Russian music from glory, solemn edging, and his chamber antipode, having generated lyrical and elegiac romance, named "Russian song", as emblematic factors national accessories of the Russian romance. Also, essential history reason rave acceptance Russia solidarity with Spanish event of the Biedermeier epoch that is determined history distribution of the national religious war in consequence of Napoleon treachery of the Gallic Byzantine church, exceedingly valued not only Russian legal successor "Third Rome", but also honoring of Byzantine tradition in Spain by means of concept "spanidat" that is to say the ecumenical-imperial value of the Spanish culture as heiresses byzantine precept. Finally, obviously riches of the genre subspecies, amongst which stand out lyrical romance, romance-elegy, as well as plural aspectual delimitations, formed in XIX century, but saved its value and for "аnti-romantic" position XX age, which had a deep full tilt in the performance culture to madrigal chant, stored spiritual precepts unvibrato presenting the notes of the uppercase as way contribute objectivity in lyric poet more essential in vocal of the past century. The performer is free in the choice that data will take historically, which can be tangent to his time and his encirclement.

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