Musical and rock opera in our native-land musicology of the 1980s: towards the sources of the research tradition (article 2)
The article is the continuation of the published work about the prior tendencies and research approaches which developed into the native-land musicological literature on musical and rock opera during 1980s. According to the author’s viewpoint, «perestroika (reorientation) epoch» was marked by the real «hitch» in the comprehension of rock opera as a synthesizing phenomenon. It absorbed, on the one hand, the essence features of more prospective artistic offshoots in the rock culture (first of all baroque rock and art rock), on the second hand, musical-dramaturgical and genre-style intentions of musical that appreciably gravitated towards the various «dialogues» with academic musical theatre (the articles wrote by V. Tkachenko, A. Tsuker and A. Shelygin). Moreover, the outlined intention to characterize the evolution by «the composer for the theatre» which creates musicals and rock operas on the ways of peculiar «poly-stylistics» (A. Zhurbin about A. Lloyd-Webber) seems to be more considerable. At last, the author supposes the necessary to note the conclusion which is important on principle: musical is the artistic quintessence of «popular society» and popular culture in the XXth century (S. Bushueva). The nearest consequences of the named researches are the dissertation works of the 1990s finally consolidating a competent status of musical and rock opera in the line of objects as applied to musicological researches.
musical, rock opera, A. Lloyd-Webber, musical theatre, popular culture of the XXth century.