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Eurasian music science journal

Abstract

Felix Markovich Yanov-Yanovsky is one of the most prominent composers of the Republic of Uzbekistan. His creativity has been studied in detail in many musicological works. However, the oeuvre of F. Yanov-Yanovsky also contains pieces unknown to musicology, including the "Romantic Overture" for a symphony orchestra, which became the object of research in this article. The main goal of the study is to replenish the history of the development of the overture genre in Uzbekistan, as well as to supplement the general understanding of the F. Yanov-Yanovsky creativity. The material for the investigation is a previously unstudied manuscript of the overture (which has been kindly given to the author by the composer); also materials from personal conversations between the author and F. Yanov-Yanovsky were used. In the process of researching the "Romantic Overture", the method of comprehensive analysis was used, special attention was paid to intonation, stylistic and semantic types of analysis. On the one hand, the work is researched in the context of the composer's creativity, and, on the other hand, the author shows the place of the "Romantic Overture" and its role in the development of the genre in Uzbekistan. The title and content of the "Romantic Overture" refers the listener to the era of romanticism. Such a programmatic approach is atypical for the Uzbek overture, which emphasizes its originality, and also expands the general imaginative palette of the genre in the work of Uzbek composers. A three-part structure with a short introduction and conclusion becomes the "constructive idea" of the work. It is quite possible to point to the "general intonation" (V. Medushevsky's term) - a third that permeates the entire texture of the work. The main “expressive method” of the work is threefoldness, which manifesting itself at all the levels of the musical form and turns into a kind of symbol referring to the romantic era.

First Page

56

Last Page

64

References

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