Title of the article:

CONCEPTUAL FACETS OF HIEROMONK ROMAN`S (MATYUSHIN-PRAVDIN) POETRY  IN THE CONTEXT OF MODERN MUSIC C COMPOSING 

Author(s):

Maria V. Genchenkova

Information about the author/authors

Maria V. Genchenkova — PhD in Arts, Associate Professor of History and Theory of Music, Popov Academy of Choral Art, Festivalnaya St., 2, 125565 Moscow, Russia. E-mail: info@axu.ru

Section

History of Arts

Year

2018

Volume

Vol. 50

Pages

pp. 328–337

Received

June 04, 2018

Date of publication

December 28, 2018

Index UDK

781

Index BBK

85.31

Abstract

The art world of the famous modern Russian poet hieromonk Roman (Matyushin-Pravdin) is dear to many of our compatriots. His work attracts the attention not only of the readers, but also of people of creative professions — musicians-performers, composers. How should a modern composer approach to the embodiment of the poet's poetry in music? One cannot answer to this question unambiguously: the poet's work is multidimensional, and the individualities of musicians differ. Nevertheless, it is legitimate to search for various hidden meanings and parallels in order to realize what means of expressiveness are appropriate for revealing the idea of a given poem. The author of the article draws parallels between the poet`s ideas and the statements of the famous art critic, professor N. N. Tretyakov (1922–2003) about Russian painting. A comprehensive understanding of the laws of art as a whole allows us to better understand which layers of musical art and its patterns, and on what grounds, can be related with the poetry of the Ier. Roman.

Keywords

contemporary music composing, hieromonk Roman (Matyushin-Pravdin), modern Russian poetry, literature and music, painting and literature.

References

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