Kleshchukov V. Danceability as a factor in the genre and stylistic evolution of academic musical art

The dissertation is devoted to the study of danceability in its impact on the evolutionary genre-style processes of academic musical art, primarily musical and instrumental. The interdependence of danceability in music and the semantic qualities of academic musical art is revealed. Danceability in music is viewed as a manifestation of musical motorness and reveals stylistic and genre vectors of influence. Dancing acts as a metro-rhythmically organized form of movement with the help of specific means of musical and non-musical expressiveness. The general figurative-semantic and metro-rhythmic foundations of musical and choreographic art are determined. Significant aspects of the interaction between the choreographer and the accompanist are interpretationly revealed. An important aspect of the work is the disclosure of the specificity of motional-dance factors in the semantics of musical themes. The variety of dance-genre manifestations in music appeals to the corresponding genre and stylistic semantics in a musical work, contributing to its figurative and semantic concretization through musical and linguistic means - from the priority of the genre motor-plastic beginning in the semantisation of the text to the variability of the existing semantics of the dance prototype. But the same means of musical language and non-musical semantics of dance can act as the most important way of artistic generalization of a work. Among the means of concretizing musical imagery, one can note the discreteness of the musical phrase (for a clearer structural and semantic organization of music), changes in rhythm and tempo (for dramatic efficiency, brilliant concert performance), virtuoso motor skills (as a generalization of vital energy, valor and imaginative mode of joy). The musical language of the instrumental suite dances embodies the ostinatic principle of conducting a laconic rhythmic motive (with a special mechanism of musical and instrumental meaning generation), a clear structural division on different scales of form, which convey the specific visibility of baroque choreography in the socio-cultural conditions of "enlightened leisure". The instrumental concert is also not devoid of the influence of dance, which adds to the concert genre a specific positive efficiency, dance "life-loving" dynamics. As a sensitive bearer of the vital intentions of the corresponding eras, dances are organically integrated into the sphere of high music due to the general clarity of the motor-plastic sign system. This gives the high sonata-symphonic genres the vital freshness of dance semantics, its muscular-bodily expression, the necessary affirmative-festive or peculiar juxtapositions.