MUSICAL EMBODIMENT OF THE TRAGEDY OF EARTH’S SONS BY HADI TAKTASH IN THE WORK OF MASGUDA SHAMSUTDINOVA

Abstract

The development of Tatar professional music in the late XX and early XXI centuries is on the way to the revival of traditional Tatar-Muslim art. The “musical restoration” of religious and artistic traditions of the Tatar-Muslim culture, including traditions perceived from Sufism, becomes the artistic and meaningful task of the Tatar composers. A vivid example of this is the work of Masguda Shamsutdinova (1955). The national factor and historical context have a strong influence on the composer's mentality, on his thinking, which is organically reflected in his music. An analysis of art history and composer creativity allowed the article authors to reveal that M. Shamsutdinova embodies his conceptual ideas by combining the traditions of ethnic music with the constructive laws of Western European art. The scientific article presents the results of a musical-theoretical analysis of the oratorio by M. Shamsutdinova “The Tragedy of the Sons of the Earth” on the text of the author’s myth of the same name by the Tatar poet and playwright Hadi Taktash (1901-1931), created in the tradition of the genre of ancient tragedy. The authors of the article consistently presented the musical characteristics of 15 parts of the oratorio. The embodiment of the deep philosophical meaning of a literary text in a musical composition using traditional and modern means of the musical language allows us to rank this composition as one of the most significant in the composer's work.