STYLISTIC ATTRIBUTION OF VOCAL-INSTRUMENTAL WORKS OF E. KNAPIK
DOI:
https://doi.org/10.32782/2224-0926-2021-2-2Keywords:
vocal-instrumental music, vocal genres, composition style, philosophy of art, Katowice Composers School.Abstract
The article defines the individual stylistic manner of the composer, which consists in the original interaction of traditional and modern systems of musical interpretation of the poetic source, emotional saturation, intonation and thematic brightness, the desire for originality of dramatic decisions. The position of the author is distinguished by the maximum deepening in the content of the poetic text, detailing of images, transfer of the psychological nuances put in it; the com-poser pays attention to the purely rhythmic and stylistic features of the verbal text. The musical language of E. Knapik's vocal-instrumental works is characterized by a deep interpenetration of various lexical elements, stylistic and genre features, where associativity and impressive mood dominate. The aim of the article is to study the original author's stylistic and compositional-dramaturgical features of vocal-instrumental music, interpreted by the Katowice composer E. Knapik, in the aspect of the theory of neo-styles in European musical art of the second half of the XX century. The article uses the methodology and techniques of systematic research, combining cognitive and analytical methods, updated in the study of individual-stylistic amplitude of vocal-instrumental work of E. Knapik. Observations made in the article allow us to conclude that vocal-instrumental music in the interpretation of E. Knapik significantly enriches modern European traditions, differs in the philosophical level of the issue, intellectualization. The artist uniquely synthesizes traditional tonal thinking with innovative tendencies of modern composer's writing, which enrich the composer's musical expressive arsenal and are his "business card".
References
Бабіч Б. Постмодерне музикознавство. Енциклопедія постмодернізму. Київ : Основи, 2003. С. 272–276.
Бовсунівська Т. Романтизм як особливий тип культури. Українське музикознавство. Київ : 2003. Вип. 32. С. 28–35.
Булат Т. П. До питания збагачення традицій камерно-вокальної творчості. Музична критика і сучасність : зб. ст. Вип. 2. Київ : Музична Україна, 1984. С. 39–57.
Васина-Гроссман В. А. Камерная вокальная музыка. Музыка XX века : очерки. Москва: Музыка, 1980. Ч. 2. Кн. 3. С. 407–444.
Baculewski K. Polska twórczość kompozytorska 1945–1984. Kraków: PWM, 1987. 183 s.
Bahr Н. Die Überwindimg des Naturalismus. Die Wiener Moderne: Literatur, Kunst und Musik zwischen 1890 und 1910. Stuttgard, 1994. S. 199–204.
Bias I. Eugeniusz Knapik. Kompozytor i pianista. Katowice, 2001. 178 s.
Fels F. M. Die Moderne. Die Wiener Moderne. Stuttgard, 1994. 238 s.
Iżykowski D. Język muzyczny Eugeniusza Knapika na podstawie wybranych dzieł instrumen-talnych. Praca magisterska. Gdańsk, 1990. 96 s. 10. Janicka-Słysz M. Eugeniusza Knapika spojrzenia na siebie i na muzykę. Studio. № 1. Warszawa, 1995. S. 24–25.
Knapik E. «Le Chant». Książka programowa XXI Międzynarodowego festiwalu Muzyki Współczesnej «Warszawska Jesień». Warszawa, 1977. S. 100–101.
Machlis J. The Enjoyment of Music. New-York; London : Norton and Company, 1984. 444 p.
Wilburg-Marzec E. Warsztat kompozytorski E. Knapika na podstawie wybranych utworów wokalno-instrumentalnych. Praca magisterska. Katowice, 1997. 101 s.
