DOI: 10.5593/sgemsocial2017/62/S25.025


E. Dyganova, N. Shirieva, Z. Yavgildina
Tuesday 3 October 2017 by Libadmin2017

References: 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM 2017, www.sgemsocial.org, SGEM2017 Conference Proceedings, ISBN 978-619-7408-24-9 / ISSN 2367-5659, 24 - 30 August, 2017, Book 6, Vol 2, 207-214 pp, DOI: 10.5593/sgemsocial2017/62/S25.025


The article deals with the phenomenon of staginess in choral performance as an artistic device of enlivening academic music and stage performance. The authors’ research attitude is based on the interpretation of staginess as an effective device of enhancing communicative character of music, which manifests itself in the choral arts through the union of music and words, in which words are the script of a composition.
The research was carried out on the basis of the following methods: cultural and historical method, which allowed the authors to determine the logic of the development of the phenomenon in a cultural context; analytical method, which reveals the laws of artistic synthesis and the enrichment of choral music genres; hermeneutic method, aimed at revealing internal hidden meanings in poetic and musical texts. In terms of the phenomenon of staginess in choral music, the authors outlined the main tendencies of the enrichment of choral music genres and musical and acoustical solutions in the following forms: introduction of specific features of instrumental music into choral music; organic unity of new and early stylistic principles of choral composition in the context of reconstruction of early choral genres; penetration of non-musical nature into musical and choral context; acoustic effects. S. Gubaidulina’s choral opus in five parts – a suite for a cappella choir “Dedication to Marina Tsvetaeva” – is considered as an example in the article. The suite belongs to a non-theatrical genre, but it has all the features of artistic synthesis, in which staginess is an essential component. Basing on the conclusion about S. Gubaidulina’s dramaturgical chain of Marina Tsvetaeva’s texts, the authors determine the main plot of the cycle as the dialogue between the God and the human. As the result of the research, the authors come to the conclusion that professional functionality of contemporary composers is widened by theatrical organization of music texture of choral composition and the actions of the performers.

Keywords: staginess, choral performance, S. Gubaidulina, M. Tsvetaeva.