The study of the creative directions of the art of the twentieth century in the classes of the theoretical cycle of disciplines in music universities and colleges

Sorokina Ekaterina Aleksandrovna PhD in Art History Associate Professor, Department of History and Theory of Music, Tambov State Music Pedagogical Institute named after S.V. Rachmaninov 392000, Russia, Tambovskaya oblast', g. Tambov, ul. Sovetskaya, 87 sorokina_e_al@mail.ru

The study of the peculiarities of the development of the musical art of the twentieth century is particularly difficult in modern pedagogy. The difficulty of perceiving music of this period of time is associated with the multifaceted artistic and philosophical content of creativity, the variety of stylistic trends and compositional techniques, the ambiguity of their differentiation, the complexity of awareness of specifics, the diversity and often experimental nature of compositional searches. All this requires the teacher to search for ways to optimize the musical process, which justifies the relevance of the presented research.

The theoretical basis was, first of all, the works devoted to the problems of style in the musical art, these are the works of S. S. Skrebkov ^[1], M. K. Mikhailova ^[2], E. V. Nazaikinsky ^[3]. The main informative material on the musical art of the twentieth century is presented in the collective work "Theory of Modern composition" ^[4], the works of A. S. Sokolov ^{[5, 6]}, the problems of perception of music of the twentieth century are reflected in the articles of Yu. N. Kholopov ^{[7, 8]}.

The study of the musical art of the twentieth century in the artistic and stylistic aspect

The music of the twentieth century is often perceived difficult by students – due to the complexity of concepts, insufficient understanding of compositional techniques, the peculiarities of the musical language. A. S. Sokolov, characterizing the culture of the time period under consideration, notes its originality: "The art of the twentieth century is the embodiment of the boundlessness of human thought and spirit, as a reflection of the mosaic of the world, experiencing the shock of seemingly unshakable fundamentals..." ^{[6, p. 4]}. The difficulty lies, first of all, in the fact that many concepts are of a debatable nature, "today they allow ambiguity of interpretations" ^{[9, p. 7]} – this problem, in particular, is pointed out by the authors of the book "Music of the XX century: from the avant-garde to Postmodern". The issues of the chronology of musical art of this historical and cultural period are also ambiguous - these problems, within the framework of considering the specifics of understanding music of the XX and the beginning of the XXI century, are covered in detail in the introductory section of the collective monograph "Theory of Modern Composition" ^{[4, pp. 14-49]}.

Back in the 60s of the twentieth century, Yu. N. Kholopov noted the importance of understanding the features of new musical works: "Misunderstanding the language of modern music often closes the artistic richness of the best musical works from the listener" ^{[8, p. 391]}. The article "On the perception and understanding of new music" raises the question of the difficulty of mastering modern music and the ways to solve it. These problems, but from the perspective of the completed twentieth century, are considered in a later article, which concludes that the perception of music has changed: "Looking back at the past century, we are convinced that our perception of music has also changed and without much effort we correctly understand the works that were once inaccessible to listeners" ^{[7, p. 413]}. However, in music pedagogy, the problems of music perception of the twentieth century are still no less relevant.

Awareness of the specifics of the musical art of the twentieth century is directly related to the category of artistic style. "The diversity of cultural processes of the XX century is largely understood through the prism of the evolution of artistic styles – it is style as an aesthetic category (idea) and a system of linguistic norms (material) that reflects the specifics of worldview and artistic thinking" ^{[9, p. 9]}.

The principles of musical and historical styles are elaborated in detail in S. S. Skrebkov's monograph, in which a separate section is devoted to the style of music of the twentieth century ^[1]. E. V. Nazaikinsky, in the introductory section of the work "Style and genre in Music", emphasizes the need to develop these phenomena in more detail within the framework of academic disciplines ^{[3, p. 5-6]}, in including differentiating the concepts of musical style and its narrower refraction – the stylistics of a musical work. The author notes that the manifestation of style is possible only through a musical work, therefore its generalized awareness should be realized through concretization – on the example of specific musical works.

Musicologists are developing approaches to the development of materials. To date, textbooks have been created containing very extensive musical material on the era under study – diverse and multifaceted. However, compositional creativity is so complex, and creative concepts are multifaceted, that there is a problem of structuring the material, awareness of its hierarchy. Therefore, it is necessary to systematize the studied material as clearly as possible.

Traditionally, the authors of the developments build textbooks on the principle of analytical essays, trying to create a three-dimensional idea of the specifics of the musical culture of the twentieth century. Therefore, in the works that have appeared over the past decades, a general trend is noticeable – a musical work becomes the starting point. Thus, the mentioned textbook "Music of the XX century: from avant-garde to postmodern", addressed to students of the specialty "Musicology" of universities, contains a number of analytical studies of works of various styles and genres ^[9]. E. V. Strigina's manual, aimed at the secondary level of music education, is also primarily based on specific artistic examples ^[10]. In the work of A.V. Denisova's "Music of the twentieth Century" ^[11] draws the image of the era through separate essays devoted to the life and work of a number of composers. It is the direct acquaintance with a piece of music that makes it possible to realize both a separate creative style direction and contributes to the formation of an idea about the appearance of the epoch as a whole.

Among the problems that arise in the lessons of the musical-theoretical cycle (Music History, Music of the second half of the twentieth – early twenty-first century, Musical form in bachelor's degree; Musical literature and Analysis of musical works in college) in connection with the study of the musical art of the twentieth century, the following stand out:

– striving for the formation of students' clear understanding of the stylistic directions of musical art, their clear differentiation;

– awareness of the mobility of the stylistic boundaries of compositional creativity, which cannot be determined solely by one stylistic direction;

– understanding the aesthetic aspirations of the era, which are directly reflected in the content of works of art, including musical;

– the need to select a number of musical works that most vividly illustrate the studied musical and artistic directions of art.

Thus, the comprehension of a voluminous historical phenomenon occurs by detailing. The task of the teacher is to choose from a huge variety, sometimes quite multifaceted and complex musical phenomena, those examples that would help in understanding the artistic and stylistic phenomenon.

Practical recommendations in the development of creative styles and directions of musical art of the twentieth century by students

For the practical solution of the indicated problems in the development of the artistic and stylistic content of the musical art of the twentieth century in the classes of musical and theoretical disciplines of music universities ("History of Music" and "Music of the twentieth century") and colleges ("Musical Literature") teachers are offered a methodological development, in which a succinct definition of a particular creative direction is given. The development of methodological approaches is based on the traditions of modern music education. The interpretation of the terminological apparatus, the set of categories and concepts, the chronological framework and aesthetic attitudes are based on the body of knowledge of Russian musicology, as well as the established traditions of teaching disciplines of the musical and theoretical cycle. At the same time, the musical culture of different countries is considered – both foreign and domestic, which makes it possible to form a more reliable and voluminous idea of the epoch, blurring the line between disciplines that traditionally study these artistic phenomena separately – in courses of foreign and domestic music history and musical literature.

This article presents the theses of methodological development aimed at mastering the musical art of the twentieth century within the disciplines of the musical-theoretical cycle. The basis of the material is the formulation of the leading content vectors that will help characterize a particular style trend. Differentiation of directions is carried out according to several general parameters:

– etymology of the name of the creative direction of art and approximate chronological framework;

– a visual-associative series in the form of a parallel with fine art, aimed at gaining knowledge and experience within the framework of interdisciplinary connections;

– characteristic aesthetic and artistic installations;

– auditory series – examples of musical works of the studied compositional direction.

Verism (ital. vero — true, truthful) the turn of the XIX – XX centuries (associative series: J. Pellizza da Volpedo "The Fourth estate"):

– interest in the life of the poor, peasants;

– sharp dramatic collisions in the plot;

– emphasized emotional style;

– the main genre is opera.

Illustrations: operas by P. Mascagni "Rural Honor", R. Leoncavallo "Pagliacci", J. Puccini "Manon Lescaut", "Bohemia".

Impressionism (French impression - impression) the last quarter of the XIX – the beginning of the XX century (associative series: E. Degas "Blue dancers"):

– the desire to embody fleeting impressions;

– timbre and harmonic colorfulness;

– transparent texture, unsteady rhythm;

– complication of chord complexes, archaic frets;

– short phrases-symbols in melody, stratification of motives.

Illustrations: K. Debussy 24 preludes, opera "Pelleas and Melisande", M. Ravel "The Play of water", "Reflections", K. Shimanovsky "Metopes", A. K. Lyadov "Magic Lake".

Expressionism (from Latin expressio – expression) the beginning and middle of the XX century (associative series: E. Moon "Scream"):

– tragic worldview on the eve of the First World War;

– predominance of negative images;

– sudden and unexpected variability of tempo and rhythm;

– replacement of singing with speech, whispering, shouting;

– atonality, dodecaphony, serial technique;

– creative association – Novovenskaya school: A. Schoenberg, A. Webern, A. Berg.

Illustrations: A. Schoenberg "Moon Pierrot", A. Webern Symphony Op. 21, A. Berg "Wozzeck", R. Strauss "Salome", B. Bartok "Duke Bluebeard's Castle".

Art Nouveau, Modernism (French moderne – the newest, fashionable) the first decades of the twentieth century (associative series: M. A. Vrubel "Venice"):

– art is evaluated from the perspective of the future;

– poetization of the life of a modern city (Urbanism);

– denial of the values of late romanticism;

– interest in jazz, variety show culture, light genres;

– reflection in the art of the technological progress of the twentieth century;

– creative association – the French group of six (Groupe des Six).

Illustrations: The joint ballet of the French group of six "Newlyweds on the Eiffel Tower", D. Millau ballet "Bull on the Roof", J. Orik ballet "Phaedra", A. Honegger "Pacific 231", F. Poulenc opera "Human Voice", J. Tayfer ballet "Bird Seller", L. Duray opera "Chance".

Neoclassicism (new classicism) of the 1920s-1930s (associative series: E. A. Burdel "Music"):

– reaction to the need to objectify creativity;

– appeal to authoritative models of the past;

– the return of polyphony and ancient forms;

– the balance of all elements of the artistic whole;

– elitism of art.

Illustrations: I. F. Stravinsky ballet with singing "Pulcinella", R. Strauss opera "The Cavalier of the Rose", E. Sati. "Bureaucratic Sonatina", S. S. Prokofiev "Classical Symphony", P. Hindemith "Ludus tonalis".

Neo-Romanticism (new Romanticism) the turn of the XIX-XX centuries (associative series: A. Beklin "Island of the Dead"):

– grew up on the basis of the traditions of romanticism as a reaction to the realistic and naturalistic in art;

– optimism, faith in the spiritual possibilities of a person;

– a world of surprises, adventures, dangers.

Illustrations: L. Janacek "Taras Bulba", R. Vaughan-Williams "Sir John in Love", S. V. Rachmaninov "Island of the Dead", N. K. Medtner "Fairy Tales".

Neo-Romanticism is also called a return to the "new simplicity" in the last third of the twentieth century. Illustrations: B. I. Tishchenko Concerto for harp and orchestra, E. V. Denisov "Three paintings by Paul Klee", S. M. Slonimsky "The Northern Ballad in memory of Grieg".

Neo-folklore (new folklore) 1st third of the twentieth century (associative series: N. K. Roerich scenery for the ballet "Sacred Spring"):

– updating the means of expression with a deep reliance on folklore;

– folklore is quoted, developed with the help of technical and stylistic techniques of modern music;

– generalized embodiment of national character, speech, thinking, etiquette.

Illustrations: I. F. Stravinsky "Wedding", B. Bartok "15 Hungarian dances", M. de Falla "7 Spanish songs", Z. Kodai "Hungarian psalm".

The "New folklore wave" in Russian music of 1950-80. Illustrations: G. V. Sviridov "Kursk songs", A.V. Gavrilin "Chimes", R. K. Shchedrin "Naughty ditties", S. M. Slonimsky "The Song of the Freemen".

Avante gard (French: avante gard – the leading detachment) – The first wave of the 1910s-1920s; The second wave: the 1950s-1970s. (associative series: K. Malevich "Black square"):

– opposition to historically established norms of art, ahead of time;

– the goal is to radically change the art space;

– the desire to create a fundamentally new language of art;

– wide application of modern techniques of musical language.

Illustrations: The first wave of the avant–garde – A. Schoenberg Suite for piano, A. Webern "Concerto for 9 instruments solo"; G. Eisler "Divertimento for wind instruments"; The second wave of the avant-garde - P. Boulez "Hammer without a master"; K. Stockhausen "Microfonia" I and II; D. Ligeti "Atmospheres".

Soviet avant–garde - the time of the Soviet period (associative series: E. Belyutin "Running"):

– irreconcilable, nonconformist position;

– depth, inner search, the artist's conversation with his soul;

– conceptualism as a response to false propaganda art.

Illustrations: D. D. Shostakovich symphonies "October", "May Day", opera "Nose".

Avant-gardists of the second wave, illustrations: A. Schnittke opera "The Story of Dr. Johann Faustin", S. A. Gubaidulina "De profundis", E. Denisov opera "Foam of Days".

Postmodernism (French postmodernisme – after modernism) the second half and the end of the twentieth century, identified with the second wave of the avant-garde (associative series: F. Clemente "Untitled"):

– return to modernism after the avant-garde;

– the primacy of the mood of the end of culture, irony;

– the desire to erase the boundaries between elite and mass art;

– rejection of standardized technology in the search for a new one;

– a combination of styles and genres.

Illustrations: J. Cage "4'33"", L. Berio "Opera", A. G. Schnittke The First Symphony, V. I. Martynov "Opus posth".

The presented materials of methodological development became the basis for a visual textbook in the traditional poster format. The illustrative materials present not only informative theses characterizing each direction of the composer's work, but also the names of works, the names of composers. The visual side is represented by portraits of composers, and the background is canvases by artists familiar from the course of the discipline "World and Art Culture", helping students to master complex material and conduct much-needed interdisciplinary connections.

Thus, the formulated theses are aimed at a sufficiently capacious, but at the same time a clear awareness of the individuality of each artistic direction will help students to form a clear idea of both individual areas of musical creativity and to realize the artistic appearance of such a complex era.

Conclusion

In general, the specifics of studying the musical art of the period of the twentieth century in the lessons of the musical-theoretical cycle of disciplines is associated with a clear differentiation of artistic and stylistic phenomena. The presented methodological approaches help in the implementation of intrasubject and intersubject connections in the process of musical learning.

An important methodological recommendation is the creation of an associative and illustrative series that helps in mastering complex aesthetic aspirations and individual creative trends, and in perceiving the appearance of the musical culture of the twentieth century as a whole.

The prospects of the study can be directed to the practical implementation of the methodological approaches outlined, in particular, to a more detailed development of the issues considered within the framework of educational and methodological projects, manuals, including the preparation of materials for the control parameter.