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Section 2. Musical arts ■ European Journal of Arts 3 (2021) - ISSN 2310-5666 -
UDC78.01 [111.852]:78.071.2 DOI: 10.29013/EJA-21-3-79-85
HUANG LEI, 1
1 Kharkiv I. P. Kotlyarevsky National University of Arts (Kharkiv, Ukraine)
PASTORAL IN MUSIC: ONTOGENESIS AND SEMANTICS OF THE GENRE - THE KEY TO PERFORMANCE
Abstract
The aim of the research: is the experience ofhistorical reconstruction of the pastoral in ontogenesis in connection with its actualization in vocal and instrumental performance of the late 20th - 21st centuries.
Methods: historiographical description; systemic modelling of the genre; an interpretative and cognitive approach to understanding the specifics of the musical pastoral of the European tradition, manifested on the basis of the modern concert and pedagogical practice of Chinese performers.
Results: a compendium of information about the semantic roles of the pastoral in the music of the Italian, French and English traditions, necessary for a modern performer, has been systematized; when defining the ontogenesis of the pastoral as a cultural phenomenon, it is indicated that there is no initial antagonism between the world of the visible (nature, society) and the invisible (heaven, paradise); the presence of harmony of a person external and internal. The conclusion is drawn: the pastoral is a lyrical and spiritual genre, ontologically connected with the heart, the energy centre (the seat of the Spirit) of a person, who, in addition to eyes (with the function of seeing the beauty of God and the world), has the function of hearing God and singing praise to Him.
Scientific novelty: for the first time, on the basis of the available characteristics of the pastoral, the semantic invariant of the genre has been modelled in the chamber-instrumental and vocal music of the new European tradition. A typology of varieties of the pastoral is proposed, complementing the integral appearance of a pastoral person. Among the "cross-cutting" principles of pastoral poetics there are polysemanticism, synthesis of arts, and parity of the vocal and the instrumental. A stable complex of performing expressiveness (slow tempo, peculiarities of melos and rhythmic formulas caused by dancing plastics, texture and timbre characteristics, sound writing) revealed the vitality of the pastoral in musical culture, thus confirming its importance in the modern picture of the world. One can distinguish between the church and secular lines of the development of the genre. However, in any case, such a complex characterizes the musical subject of the pastoral as an analogue of a person in its historical and spiritual-ontological dimension.
Practical significance: the conclusions of the article can be used in the pedagogical activity of vocalists, when choosing examples of the pastoral among the concert and repertoire priorities.
Keywords: pastoral, semantic invariant of the genre, pastoral man, performing complex, sound writing.
For citation : Huang Lei. Pastoral in Music: ontogenesis and Semantics of the Genre - the key to rerformance // European Journal of Arts, 2021, №3. - P. 79-85. DOI: https://doi.org/10.29013/EJA-21-3-79-85
Introduction. Pastoral is one of the fundamental genres of Western European culture. Researchers attribute it mostly to poetry, literature and theatre, as evidenced by the existing definitions belonging to various scientific discourses. For example, the authors of the theatrical encyclopaedia offer the following definition: "Pastoral is a genre of court theatre that arose in Italy in the 16 th century; a small opera, pantomime, ballet, writ-
ten on an idyllic plot from rural life" [1]. In the Brief Literary Encyclopaedia, the same type of indication is given to "... a literary genre widespread in Europe in the 16 th-18 th centuries, which is characterized by an idyllic depiction of rural nature, the life of shepherds and forest deities of Greek mythology: nymphs, fauns and others" [2]. Let us note that the musical component of the genre is the most important for understanding the
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image of a pastoral person, who is in great demand in the picture of the world of the modern era. The pastoral hero in a circle of singing, dancing, merry people steps in a special function - a personality from culture: this is a generalized image of a poet-philosopher, an ideologue of ordinary people in their arduous life in the bosom of nature (natura).
In the performing culture of the late 20 th-21 st centuries, pastoral is experiencing a time of its revival, since it reveals the rootedness of a human in the bosom of nature, and the presence of God's image in it, hidden by the art of avant-garde and postmodernity. Hence the actualization of the Christian interpretation of pastoral as an image of Paradise, a space of eternal harmony, a human's love experience of his/her co-existence with God. It is clear that the biblical subtext was supplanted in the definitions given by art historians of the Soviet era (and not only). The aim of the research is the experience of historical reconstruction of the pastoral in ontogenesis in connection with its actualization in vocal and instrumental performance of the late 20 th - 21 st centuries.
The main content. As it is known, the pastoral genre was formed and entrenched in various national-style and genre contexts, in the synthesis of theatre, poetry, music and painting. However, for a long time in Russian-language musicology there was no generally accepted theory of the genre as a systemic description dedicated to the specifics ofpastoral in all the diversity of its forms. Against the background of compiled sources describing pastoral in the context ofvarious educational or encyclopaedic publications of the first half of the 20 th century (for example, T. Livanova, 1983 [3]), Alla Korobova's dissertation (2001) and articles (2014) appeared which summarized long-term observations of the history of the genre and drew a line under the aesthetic and theoretical concepts of pastoral in musicology at the turn of the second and third millennium, defining it as a "universal myth created by European culture" [4, 25].
The synonyms of the pastoral genre etymon are "bucolic" (bucolos - from the Greek "a shepherd of bulls and oxen"), "idyll" (eidollion - diminutive of eidos "view, image, idea"), "eclogue" (a dialogue between two shepherds who sing out their love to a beautiful nymph) - consolidated the semantic "core" of the genre as pictures of a shepherd's life in the bosom of nature, in the circle of love-emotional experiences of a simple, ingenuous soul, as opposed to other types of plots of European art of the New Age, focused on the flowering ofthe conflicting
forces of a public person (homo communis). An echo of the influence of the moods of the Pastoral Man in the concept of the symphony is the semantic role of Largo/ Adagio - the slow part of the cycle, when a person is shown in a state of mental repose, harmonious rest.
The musical pastoral had its own prehistory and prototypes: antique bucolic poetry and medieval pastoral -theatrical dialogues turning into singing ("Robin and Mariam" by the trouvere Adam de la Halle, the middle of 1280s). The literary pastoral of the Renaissance served as the cradle of the chamber-vocal pastoral (in the madrigal genre with its stylistic differences from the "village" theme - rustica). Threads also stretch from it to the main genre of the early Baroque - pastoral mythological opera. R. Rolland justly wrote about this: "... not a single kind of dramatic action is adapted to such an extent for singing as a pastoral requiring gentle harmonious melodies" [6, 62]. At the same time, in pastorals, poetry was more appreciated than dramaturgy; therefore, they turned out to be related in spirit to the poetic texts of the Florentine dramma per musica. Owing to the opera, pastoral gained autonomy and particular specificity in showing the image of a human of a noble, exalted spirit.
Discussion. This article outlines a slightly different aspect of the study of the genre category of pastoral -interpretative-cognitive, manifested through the study of Chinese performers of the repertoire heritage of vocal music of European composers. Owing to the "immersion" of Chinese performers in the global "text of culture" (from baroque to postmodernism), a unique communication emerges in the perception of art, when the human ear and eyes seem to "re-live" the history of music, while rethinking the experience of spiritual cleansing from ideological layers, clichés and pseudo-evaluations of old academic science. "It is significant that in the latest editions of the largest musical encyclopaedias - "Die Musik in Geschichte und Gegenwart" and "The New Grove Dictionary of Music and Musicians" (2001), the scale of articles on pastoral has been increased in comparison with previous editions: in the first one it almost doubled, in the second - by a third. Thus, the preservation of interest in pastoral (and even its strengthening in comparison with the beginning of the 20 th century) is obvious" (A. Korobova [5, 203-204]). Attention is drawn to Elena Cooper's thought from the book "Pastoral: Medieval into Renaissance" (1977), as quoted by A. Korobov: "The idea of pastoral no longer needs any justification; recognition of its amazing symbolic wealth
as a whole replaced its condemnation as artificial <...> which for so long prevented its proper assessment and which in a number of cases was based only on a small part of the general tradition" [the same source].
Italian tradition. Pastoral drama ofthe 16 th century and a little later the Florentine drama per musica became the first experience of synthesizing poetry and vocal melody. Still later, the principle of the synthesis of arts in various theatrical performances of the 17 th- 18 th centuries (especially at the French court). The genre of pastoral in Italy was distinguished by a variety of forms and scales: opera, ballet, opera-ballet, theatrical serenades, pastoral (inserted) scenes within the framework of an opera-seria and lyric tragedy. Alessandro Scarlatti - one of the members of the Arcadian Academy, the head of the Neapolitan school, paid considerable attention to pastoral. His operas are replete with recourse to pastoral themes and images. Their functions are different: most often pastoral was set off by the contrast to the unfolding drama of feelings (this line will be continued by Monteverdi's "Orpheus"). Any aria reflected the unity of the heroic and the idyllic. The first operas "Daphne" by Peri (1594) and "Eurydice" by Caccini (1600) were pastorals. Monteverdi's "Orpheus" (1607), starting from pastoral, is an experience of dramatizing pastoral (act 1, pictures of nature and the happiness of love), in connection with a tragic plot, and transforming the idea of idyll into a drama of feelings.
After the crisis of the opera-seria, pastoral passed from an aristocratic to a democratic chronotope. Conventionality as an artistic principle of pastoral (the idealized world of absent passions) is transformed into the realism of the artistic content of the opera-buffa with elements of humour, showing the village life, immediacy of feelings and love experiences of ordinary people (opera of 1754 "The Village Wizard" by Galuppi; "The Miller's Wife" by Paisi-ello, 1788). In the comic opera of the second half of the 18th century, pastoral retained its semantics (plot, type of heroes, image-emotional structure), having been enriched with intonation elements of the national song and dance colouring ("bagpipe complex", musette).
In the era of opera realism (Rossini, Verdi) and verism (Mascagni, Puccini), the pastoral genre was enriched even more, owing to the poetic pages of the opera style ofbrilliant Italian composers, in which nature (pastoral) and a human reveal the depths of feelings of love and admiration for beauty.
The French version of pastoral. The first in the creation of the canons of a purely "musical pastoral" of the era of classicism were French composers who worked in the genre of opera in imitation of the ideals of the world outlook of pastoral painting by Antoine Watteau (16841721). His imaginative world is beautiful - serene, contemplative-hedonistic, devoid of deep psychological revelations and passions, which later became the embodiment of the era of "gallant style". N. Bouileau clearly formulated the aesthetic rules of his era in the treatise "Poetics" (1669). One of the canons of French classicism was the assertion of the pastoral image as an ideal of art as a bucolic and idyll, reflecting the language of feelings in music and poetry: the creative work ofJ. B. Lully, the legislator of the main genre - lyrical tragedy, became a vivid embodiment of the pastoral genre in French opera. Although it is impossible to attribute the compositions of this master entirely and completely to pastoral, because the main threads of the plot of the lyrical tragedy are not reduced to it. The exception is the heroic pastoral "Acis and Galatea", which musicologists (V. Bryantseva [8]) write about as an attempt by the composer in the late period of his creative work to go beyond the influence of the idyllic worldview.
The pastoral ideas and images entered the lyrical tragedies of J. B. Lully as a figurative counterpoint to scenes of a fantastic, heroic or solemnly spectacular nature. Pastoral in the plots related to the heroes' exploits, their transformations and communication with the gods, with various twists and turns, seems to set off the ideal world of the common human, where love and harmony reign, symbolizing the image of Paradise. Let us give an example from the opera "Theseus" by J. B. Lully with a complex plot based on an ancient myth. The opera contains a contrast between the demonic and the idyllic: a gentle dance pastoral from Act IV is opposed to a dark chorus of shadows in Act III. The genre style of this typical example of pastoral is characteristic: a smooth melodic movement in parallel consonances (thirds, sixths as a sign of a duet-consent) performed by flutes and oboes imitating the timbre of shepherds' flutes; roundness of syntactic constructions. The genre and stylistic complex noted by T. Livanova will remain as pastoral attributes in the music of subsequent centuries and national schools1 [3, 324]. It is interesting that, having crystallized in vocal art, the genre complex of pastorality (hereinafter re-
1 It is precisely such a classical experience of stylization that we meet in P. Tchaikovsky's opera "The Queen of Spades" used
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ferred to as the type of semantics) was quickly mastered by instrumental music (sonata, concert). Let us call its components:
• slow pace (Andante);
• calm movement of the Siciliana (metre 6/8; 12/8);
• smoothness, progression of the melody of a generalized plan, without individualization (a shepherd's song);
• echoes of thirds in the timbre sound of woodwinds or violins, imitating the sound of a pipe in the fields.
A vivid confirmation of this idea is the trio-sonatas No. 6 by the Italian A. Corelli: the themes are based on the contrast of a soft idyll (Largo) and a dance element (Giga). The slow movements of Corelli's trio-sonatas contain an imprint of the opera aria style, representing the lyrics of an objective type in the original genre light.
Pastoral is also widely represented in the creative work of A. Vivaldi, as evidenced by the program titles of his opuses in the genre of the concerto: "Shepherdess", "The Seasons", "Pastoral" etc. According to J. Hopes, in the ideal world of pastoral, "it is not so much the songs of the shepherd, the flute or the nightingale, the echoes or the murmur of the streams in itself that are important as their aggregate environment in which pastoralism acquires original self-expression" (Hopes, 2017 [9]).
The tradition of England is represented by the creative work of G. F. Handel - a German master who, with his skill, showed the world an example of the creative synthesis of different national schools and created a common European style. In the pastoral genre, he made a dynamic "shift" towards the expansion of semantic functions, the rejection of external programmness (sound visualization), the dogma of the poetry of the world outlook, indicating a subtle psychologism in showing pictures of nature and folk life, without the conventions of mythologization and bucolic (stylization "like a game" to pretend to be shepherds, country boys and girls in aristocratic art).
One can see the threads of continuity between Corelli and Handel (let us compare Musette from Handel's Concerto Grosso No. 6 and Pastoral from Corelli's Concerto Grosso No. 6). There are innovative features of the genre
in the creative work of the German composer: the glorification of the lyrics (the 3rd part of Concerto Grosso No. 7 and its finale "Hornpipe" - a folk origin dance).
Pastoral is typical not only for the secular compositions of the German composer (Concerto Grosso No. 2 F-dur), but, above all, for his oratorios, written on biblical plots. For example, "Messiah" (1742) is a heroic dithyramb dedicated to the image of Christ. In the conclusion of the first part (No. 13-19), which tells about the appearance of an angel to the shepherds of Bethlehem with the news of the birth ofJesus, the sinfonia pastopale is sounding. Its images are exceptionally rich: the Italian melody Pifa is replaced by the recitative of the Angel and a solemn choir of the shepherds. The culmination is a soprano aria, full of grandeur and simplicity: there is more of an epic narrative framed by a pastoral style: a duet of violins in a thirds presentation of the theme, a Siciliana rhythm, a wavy melody. The development of the pastoral line in the general dramaturgy of the oratorio proceeds from a specific image of a well-known event set forth in the Gospel of Luke (2: 8-20), to a generalizing symbol - the image of Christ as the shepherd of mankind. The second part of the oratorio tells about the suffering and death of the Messiah. Among the gloomy images there appear the messengers of peace (No. 36) - a pastoral aria with a consoling and spiritualized semantics (the resurrection after death).
The primary consolidation of the genre in church culture was the Christmas pastoral, which reflects "... a tendency not so much to present the event side of the plot, but to emotional and mental comprehension of its meaning and significance for a person" [4, 17]. The musicologist also notes the semantics of the unification of the heavenly and the lower in the co-existence of Christmas, characteristic ofpastoral ("angels and shepherds glorify"). Let us draw a conclusion that is important for defining the essence of the ontogenesis of pastoral as a phenomenon: it initially lacks (or overcomes) the antagonism existing in romantic aesthetics (in any variation: the visible world (nature, society) and the invisible (heaven, paradise); an external and internal human).
Conclusions. The conducted historical and theoretical excursion has confirmed the presence of a constant structural-linguistic and semantic core of the genre, owing
for creating an atmosphere of antiquity and for understanding the psychology of the Countess's image: we talk about the interlude "Sincerity of the Shepherdess" and a number of other scenes of peasants in the spirit of "praising rural life", praising life with the nature (pastorale rustique) or Tomsky's song from Act VII - a piquant performance in a gallant style, pastorale frivolité, as observed by A. Korobova [4, 31].
to which pastoral, despite constant modifications, has retained its specificity in more than 400 years of evolution.
2. The performing perspective of the study of pastoral summed up its role in the concept of a human and its place in the integral system of genres of modern musical culture. Pastoral is a lyrical and spiritual genre closely related to the energy centre of a person - the heart, the receptacle of the Spirit, in which, in addition to the eye (with the function of seeing, seeing the beauty of God and God's world), there is the function of the ear - to hear God, to sing praises to Him.
3. Although pastoral was not a product of the New time, but is closely connected with the culture of previous eras, it was in the music of the 17 th century (baroque arias make up almost the majority of the concert programs of the academic singer) that pastoral developed into an independent figurative and stylistic sphere. Its emblem embodies the bright idyll of the relationship between nature as a divine will and a human. The further evolution of pastoral in the era of classicism (J. Haydn) and early romanticism (F. Schubert) is associated with the assertion of program in its various manifestations, including the crystallization of pastoral genre nature in instrumental music, starting from the 17 th - the first half of the 18 th centuries as a stable complex of musical expressiveness ("semantic core"), not necessarily "tied" to the author's naming of "pastoral". However, in any case, such a complex characterizes music as an analogue of a historical person in his/her spiritual, ontological dimension.
4. From the point ofview of the stability of genre semantics, constant in different national styles, the secular and church types of pastoral are distinguished. The creative work of G. F. Handel is an example of the embodiment of the pastoral genre in its religious quality.
The semantics of secular pastoral in the creative work of European composers is represented by the following varieties:
1) musical sound writing (imitation of the sounds of nature: birdsong, the murmur of a stream, echo);
2) the embodiment of affect as a seal of the mental movements of states (heartfelt joy, quiet reverence, thanksgiving, pacification);
3) dance genre (plays by English virginal-players and French harpsichordists): musette, rigaudon, tambourine; polonaise (the 4 th part of Concerto Grosso No. 3 by Handel); the 3 d part ofA. Vivaldi's concert "The Seasons" (program explanation "the nymphs are dancing to
the sound of the shepherd's bagpipes"). Among the leading principles of pastoral poetics there is:
- polysemanticity, when in the genre core of the composition, several (two or more) intonation-characteristic signs of the spiritual unity of a person with nature, the Divine beauty of the surrounding world (from objective lyrics, sensual singing to heroics, anthem quality and dance) are "fused" and act in syncretism;
- synthesis of arts - a way of creative life and self-expression of an artist (= performer), in which the language of art is not one sense organ (body plastic, hearing, vision), but their complex; as a result, the experience of a holistic perception of the world with a dominant on harmony, the absence of conflict in the development of a human's capabilities.
Another important aesthetic principle of the poetics of the pastoral genre is the parity of the vocal and instrumental principles in the formation of the semantics of the Paradise chronotope, in which the soul of a person on earth dwells. Its meaning can be interpreted as a manifestation of the dialectic of the internal (human) and external (God's world) through the memory of their genetic relationship.
The timbre characteristics, metro-rhythmic and textured ones are fixed in the instrumental accompaniment of pastoral, while purely vocal ones are distinguished by greater generalization, roundness and breadth ofphrases, and stylistic diversity.
Finally, the tonal sphere most typical for pastoral, both a vocal and instrumental one, is F-major and Amajor, associated both with the semantics of Paradise, and remotely with the colouring (F - earth in spring, the colour of fresh greenery).
Thus, performers (vocalist/instrumentalist) need to know the basic principles of pastoral, its "semantic code" and in their performing reading of the compositions of this genre category, to embody the psychology of the Pastoral Person in the correct ethical and ontological key. Thus, the performer (vocalist/instrumentalist) must know and embody in his/her concert practice the basic principles of the pastoral genre and reflect the psychology of the Pastoral Man in his/her performing style of the compositions of this genre category.
In conclusion, let us present a quote from the latest source, in which a group of authors assesses the modern status of the pastoral in the art of music: "Pastoral is a characteristic image of a person in European music with a rich semantic spectrum of meanings. Moreover, the
pastoral in music is different than in painting. Summing up the main meanings in a system, we get the semantic horizon of the genre in the fundamental ontological perspective "human - nature - God" [10, 139]. In this sense, musical pastoral and its musicological discourse does not
contradict the latest trends in pastoral literature and literary criticism [11]. Comparative-cognitive analysis of pastoral is a prospect for further development of the topic.
References
1. Theatrical encyclopaedia. - Moscow: Soviet encyclopaedia, 1978. - Vol. 4.
2. Brief literary encyclopaedia. - Moscow: Soviet Encyclopaedia, 1968. - Vol. 5.
3. Livanova T. History of Western European music before 1789. - Moscow: Music, - Vol. 1. 1983.
4. Korobova A. G. Pastoral in the music of the European tradition: to the history and theory of the genre: Dissertation for Doctor in Art Criticism.: 17.00.02 "Musical Art": - Moscow, 2007. - 453 p.
5. Korobova A. G. "Modern man": what is pastoral to him? what is he to pastoral? (About the paradigm of the genre in the musical culture of our time). Human: Image and essence. Humanitarian aspects: Annual. Russian Academy of Sciences, - Moscow, - 11, 2011. - P. 201-225.
6. Rolland R. Musicians of the past Moscow: - Muzgiz. 1938.
7. Rolland R. Opera in the century in Italy, Germany and England. - M.: State Musical Union, 1931.
8. Bryantseva V. Jean-Philippe Rameau and the French Musical Theatre. - Moscow: Music. 1981.
9. Hopes J. The sounds of early eighteenth-century pastoral: Handel, Pope, Gay, and Hughes. E-rea [Online]. 2017. 14.2 |2017. Online since 15 June 2017. Retrieved October 13, 2020. From: URL: https://journals.openedition. org/erea/5741?lang=en
10. Shapovalova L., Chernyavska M., Govorukhina N., Nikolaievska Yu. Pastoral in instrumental and vocal music 18-21 centuries: genre invariant and performance. Ad Alta: Journal of interdisciplinary research. Special Issue No.: 11/02/XX. - Vol. 11. - Issue 2. - Special issue XX. 2020. - P. 136-140.
11. Lavis G.J. Pastoral Modes in the Poetry and Prose Fiction ofW. G. Sebald [Thesis of Doctor of Philosophy, English and Comparative Literature. Goldsmiths College, University of London]. 2014.
Information about the author
Huang Lei, postgraduate of the Department of Interpretology and Music Analysis Kharkiv I. P. Kotlyarevsky National
University of Arts, Kharkiv, Ukraine,
Address: Obolonskyi Ave, 36, Kyiv, Ukraine, 02000
E-mail: 1908278607@qq.com; tel.: +38 (063) 701-29-80 ORCID: 0000-0001-9227-8429
ХУАН ЛЕЙ,1
1 Харивський шщональний утверситет мистецтв iменi П.Котляревського (Хар^в, Украша)
ПАСТОРАЛЬ В МУЗИЦ1: ОНТОГЕНЕЗА ТА СЕМАНТИКА ЖАНРУ - КЛЮЧ ДО ВИКОНАННЯ
Аннотация
Мета дослмження - досв^ вторично! реконструкцп пасторал! в онтогенезi у зв'язку з й актуал!защсю у вокально-шструментальному виконавствi кшця ХХ-ХХ1 столиъ.
Методи: iсторiографiчний опис; системне моделювання жанру; iнтерпретативно-когнiтивний шдх1д до розумшня специфiки музично! nacTopaAi европейсько! традицп, виявлений на основ1 сучасно! концертно-пе-дагогично! практики китайських виконавцiв.
Результати: наданий необхiдний сучасному виконавцю компендiyм вiдомостей про семантичш амплуа пасторал1 в мyзицi талшсько!, французько!, англшсько! традицш; при визначенш онтогенези жанру як феномена культури вказано на вiдсyтнiсть в ньому антагонiзмy свiтiв видимого (природа, суспгльство) та невидимого (небо, рай); наявшсть гармони людини зовншньог та внутршньои Пастораль - це лфико-духовний жанр, онто-Aогiчно пов'язаний iз серцем — енергйним центром (вместилищем Духа) дюдини, у яко! о^м зору (iз функ-цiею бачити красу Бога й св^у), юнуе функ^ чути Бога й ствати Йому хвалу.
Наукова новизна: вперше на основi наявних характеристик пасторалi змодельовано семантичний iнварiант жанру в камерно-шструментальнш i вокаAьнiй мyзицi новоевропейсько! традицп. Надано типоAогiю рiзновидiв пасторал^ комплементарно доповнюючих цiAьний образ людини пасторальноi. Серед «нас^зних» принципiв пасторально! поетики - помсемантичность, синтез мистецтв, паритет вокального та шструментального. Стш-кий комплекс виконавсько! виразност1 (пов1льний темп, особливост1 мелосу та ритмо-формули, обумовлен1 танцювальною пластикою, фактурно-тембров1 характеристики, звукопис) виявив життест1йк1сть пасторам в музичн1й культур^ п1дтвердив й значущ1сть у сучасн1й картин1 св1ту. Можна розр1зняти церковну i свггську Aim! розвитку жанру. Однак в любому випадку такий комплекс характеризуе музичного суб'екта nacTopaAi як аналога людини 1сторично! в й духовно-онтологичному вимiрi та нащональнш характерности
Практична значущЬть: висновки статт1 можуть бути використаш у педагопчнш дiяAьностi вокал1сив, при ви6ор1 зразк1в пастораAl у пошуку концертно-репертуарних прюритепв.
КAючoвi слова: пастораль, семантичний швар!ант жанру, людина пасторальна, виконавський комплекс, звукопис.
1нформац1я про авторах
Хуан Лей, астрант кафедри штерпретологй та музичного анаAiзy Харювський нацiонаAьний yнiверситет мистецтв !меш Котляревського, Харк1в, Укра!на Адреса: Оболонський проспект, 36, Ки!в, Укра!н, 02000 E-mail: 1908278607@qq.com; тел.: +38 (063) 7012980 ORCID: 0000-0001-9227-8429
