Title of the article:

EMERGENCE OF THE MUSICAL DIRECTION “CLASSICAL CROSSOVER” IN MODERN VIOLIN ART

Author(s):

Мarina L. Zaitseva

Regina R. Budagyan

Information about the author/authors

Marina L. Zaitseva — DSc in Art Нistory, Associate Professor, A. N. Kosygin Russian state university (Technology. Design. Art), Maimonides`s Academy, Sadovnicheskaya St., 52/45, 115035 Moscow, Russia. E-mail: marinaz1305@mail.ru

Regina R. Budagyan — Lecturer, A. N. Kosygin Russian state university (Technology. Design. Art), Maimonides`s Academy, Sadovnicheskaya St., 52/45, 115035 Moscow, Russia. E-mail: r.budagyan@mail.ru

Section

History of Arts

Year

2018

Volume

Vol. 49

Pages

Рp. 351–370

Received

April 17, 2018

Date of publication

September 15, 2018

Index UDK

78.072.2

Index BBK

85.315

Abstract

This article explores the tendencies of classical crossover establishing, and looks at the works of modern violinists (V. Mae, E. Marton and D. Garrett). It is scientifically founded that the turn of the XXI century witnesses active manifestations of expansion of traditional forms and methods of musical and artistic creativity in the modern violin art under the influence of mass culture. The specificity of the instrument, its potential as a solo instrument capable of revealing the whole range of emotional states of a person, largely determines the stylistic features of the classical crossover in the violin art at the turn of the XXI century. The paper shows that in that case neo-romantic traits prevailed over the neo-classic. The evolution of approaches towards interpretation of the academic repertoire within classical crossover demonstrates the increasing influence of genres and methods of mass culture and strengthening of the style heterogeneity of interpretation and reinterpretation methods. To a great degree the popularity of Mae is due to her extraordinary skills, trespassing audience's stereotypes, developed within the framework of the academic school and other traditions. E. Martin and D. Garrett carried on Mae`s traditions and developed her in innovations in construction of repertoire and image policy, but returned from the electric instrument to the acoustic violin, thereby securing its expressive potential in the new mixed instrumental ensembles.

Keywords

contemporary violin performing art, classical crossover, Vanessa Mae, Edvin Marton, David Garrett.

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