French chamber instrumental music of the period after C. Debussy: national traditions and new language stylistics
The sources of realities of the French chamber instrumental music formed during the period after C. Debussy are considered within the article. The ideas introduced in B. Asafyev’s, T. V. Adorno’s, S. Ginzburg’s and D. Milhaud’s (the representative of the «Les Six» group) works form the basis for this consideration. These musicians were in a close temporary distance in relation to the French music of this period, and sometimes directly «inside» it. In the article some aspects of the traditions peculiar to French «musical mentality » in combination with neostylistics which lines were differently designated in styles of such composers as M. Ravel and representatives of the group «Les Six» are allocated and systematized. This context is applied to chamber instrumental genre which revival happened on the basis of retro- and neotendencies in the general polystylistics, common to the era in general (characterized as transitional, experimental-searching). Research novelty of the article consists in identification of historical-logical and communicative contexts in which the styles of the French masters of a chamber instrumental genre during the described period were formed.
the French music, national tradition, C. Debussy, M. Ravel, D. Milhaud, chamber instrumental genres, neostylistics.