Musical in the musicology of our country: the terminological «oppositions» of the 1970s
The article is devoted to the priority aspects of researcher’s understanding and comprehension of musical by the musicology of our country in 1970s. The author characterizes the historical-cultural context of the «late» Soviet époque that was favoured to studies of popular musical theatre. Further the most significant problems to be in the centre of such studies are signed; these are genesis and «universal» definition of musical gravitated towards dynamic development, and diverse genre-style «dialogues», etc. In the capacity of representative examples for examination there are selected the guide-book «In the World of Operetta» (1977) by L. Mikheeva and A. Orelovich, the essay-lecture «Musical» by L. Dan’ko (1977) and the article by A. Volyntsev and Dg. Mikhailov published in the previous year. The author reveals the specificity of individual approaches to studies of musical as appropriate stage of operetta theatre historical evolution (L. Mikheeva, A. Orelovich), or the independent genre appeared «at a crossroads» of different influences (A. Volyntsev, Dg. Mikhaylov). The special attention is given to the productive interactions between musical and opera theatre which are elucidated by L. Dan’ko on examples of works by G. Gershwin, B. Brecht – K. Weill, L. Bernstein, A. Lloyd-Webber.
musical, genre definition, musical theatre, genre-style «dialogues».