Zhu Jian’era’s vocal miniatures: genre and stylistic features
The article explores the creative heritage of the Chinese composer Zhu Jian’er in the field of chamber-vocal music. The significance of his chamber-vocal compositions in the context of national musical art is determined. The most important semantic functions of the chamber-vocal creativity of the composer are considered, which represents more than 300 songs and romances. Genre-stylistic features, figurative and poetic content, the harmony and intonation of the artistic songs of Zhu Jian’er are revealed. The subject of heroic images are the defenders of China, national symbols, the genre source of thematicism is the layer of the northern musical tradition of China. Lyrical imagery is most often represented through a landscape dominated by contemplative moods, observations of the finest play of colors in nature, which determined the search for sound in music. For example, in the song "Memory" on the composer’s own words he creatively interprets the tradition of folk singing tales Qinshui County (accompanied by a zither), and the type of melodic tale manban (slow), associated with the saturation of melodic chants inside voice, recitative-declamatory genre traditions of folk story tellers – shoshudes. In its decision the music composer breaks the bond internal state of music hero with external circumstances. Heightened expression of vocal performance is related to the saturation of the melody in syllabic chant. Obviously, the most consistent with the spirit of the song is dramatic and very personal painting. The most important role in melody is played inner voices chants and ornamentation and encircling scale by two neighboring, sound based on pentatonic and improvisational variant conversion. A huge role in the development and thematic belongs linearity and polyphonic techniques of presentation of musical material. Rhythm expresses itself as the bearer of national origin through the typical formula: an alternation of large and small lengths, syncope, a brief sound with a dotted rhythm, etc. Feeling latitude rhythmic breathing created due to the fact that the stressed syllables are broken up into small duration, the end of a melodic and rhythmic group coincides with the beginning of another. "Gada Meilin" refers to a genre variety of chamber-vocal music, the song ballad. In each new full conducting of the theme, relief of sound of melody provided dynamization accompanying voices, expansion of the register and timbre piano space. Thus, accompaniment plays an important role in the continuous renewal of emotional portrait of the hero. Internal Hero metamorphoses occur in the interaction with the outside world, which is represented in the party support a sound way of choral singing and the orchestra of the Chinese wind instruments. For vocal works heroic theme the nature of the enormity of poetic images, recitativearioso melody, ballad type of deployment of the musical material. On the contrary, the basis of the content of vocal and landscape imagery put the world of lyrical feelings and moods of Zhu Jian’er. The song "Spring come back", which is a model of sublimely spiritualized lyrics, continues the traditional for Chinese theme of art – the seasons of the year. Composer creates a kind of "sound oasis", full of spiritual consolation and lyrical contemplative rest. Overall recreated quiet, soothing calm picture of the beautiful nature with its special charm sweet languor. To do this, found and completed the complex of means of musical expression. In contrast, various "passions" - he used the bright, pure, chaste lyrics. Hence, transparent texture, accentuated static, complete peace (not by chance there are features of the lullaby), nothing marred the harmony, the true serenity. Another type of lyrical experiences revealed in the song "Waves Beidaihe" on poems by Mao Zedong (from "Liberation" series). This work can be called scenery “seascape”. The song seascape cannot be separated from the man and his emotional world: here there is a beauty of the sea, the waves on the sand, the movement of boats. This sublime blend of images of man and landscape allows the listener to experience the profound meaning of the work, which is dominated by bright and enthusiastic images. Landscape beginning of the song closes with the world of the senses of the hero, and emotion, in turn, are born out of the landscape, growing into the natural environment background. The composer has made a significant contribution to the establishment of the Chinese chamber vocal art. The content of the songs Zhu Jian’er broadly and comprehensively. They sealed inner experience of man and nature paintings, folk life, deeply personal motives. All noble imbued with sincere feelings of integrity, passionately loving life and tending to bright ideals. Widely used visual moments, reflecting China’s paintings of nature. The analysis presented in this article chamber and vocal works of Zhu Jian’er we conclude that the subject of the heroic are the way of the brave Chinese defenders of the native land, national symbols, and others. The main source of the genre and thematic layer is a musical tradition of northern China is characteristic of his heroic theme and based on pentatonic scale. The lyrical imagery is often represented by the composer through a landscape in which dominated by contemplative mood, observe the finest play of colors in nature and that determined the search for a sound scenic beauty in music.