Китайська тема в німецькому й українському символізмі (на прикладі порівняння інструментальної фактури в «Пісні про землю» Г.Малера й циклу на вірші китайських поетів Б.Лятошинського)
Chinese Theme in German and Ukrainian Symbolism (On Example of the Comparison of the Instrumental Invoice in "Canto About Land" of G.Mahler and Cycle on Verses of Chinese Poets of B.L. Jatoshinskiy)

Summary/Abstract: The purpose of the article emerges the illumination an символистских aspect of the method creative activity G.Maler and B.Ljatoshinskiy - on material instrumental party "Canto about the land" of Mahler and piano parties of the cycle on verses of chinese poets of Ljatoshinskiy. The methodology of the work is intonation concept of the music of the school of B.Asafiev in Ukraine, in riverbed which is developed analytical, style-comparative, history and hermeneutic methods of the study. Special attention is spared works J.Cassou, F.Claudon and D.Androsova, in which is emphasized symbolism forming композиторского of the сomposer approach named master. Scientific novelty of the work is determined by independence of the theoretical interpretation individually-style position of named authors, as well as that for the first time in specified foreshortening are considered named compositions austrian and ukrainian composer. Conclusions. Symbolism aspects of the creative method of G.MahlerA and B. Ljatoshinskiy come to light distinctly, first, sense of the address itself to chinese classical poetry, which reproduces manner of the old Europe of statically-contemplative, normative-aesthetic comprehension of the world - in his perfection and distress status (refer to presence and beside Mahler, and beside Ljatoshinskiy presence "leit-tonality of XX cent." in the manner of abutments by E-f/Fis). Pentatonic becomes the peripheral sign of the music entailment to chinese poetry, sooner with general-symbolism, old-church coloring of un-semitone mеlоdies. Secondly, instrumental parties "Canto about the land" of Mahler and piano parties of the cycle on versus chinese poets of Ljatoshinskiy demonstrate the person of the sort linearization invoices, categorically defending from hоmоphone-harmonic design of the compositions european classicists New time, approaching linear-heterophonic buildings chinese of theatrical instrumentalism.

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