MUSICAL AND IMAGINARY SEMANTICS OF THE CHORAL WORK BY S. VOROBKEVICH TO THE WORDS OF T. SHEVCHENKO “FLAMES ARE BURNING”

Abstract

The article emphasizes the significant role of Bukovyna composer Sydor Vorobkevich in the development of national culture and art. The insufficient number of studies of the composer’s work and the lack of analysis of the choral work “Flames are burning” prompted the author to choose the specified theme. The purpose of the article is the analysis of musical and figurative semantics in the choral work “Flames are Burning”. The author investigates the musical-figurative semantics of the composer’s male choir, clarifies the definitions of “semantics” and “semiotics”, analyzes in detail the form of the piece, the scale-tonal plan, melodic structure, harmonic language, choral texture, dynamic plan and other means of musical-figurative expressiveness. Attention is focused on the fact that the semantics of the word, starting from the title of the poem, is subordinated to the musical-figurative semantics of the composer’s thinking, which is aimed at understanding and embodying the philosophy of the poet’s way of thinking. The musical-figurative semantics of the work is determined not only by the conceptual meanings of the structures, but also forms a complete system of interpretation and perception of artistic images in the works. The analysis conducted in our study of one of the artist’s brightest works, “Flames Are Burning”, provides grounds for asserting the presence of complex musical-figurative semantics in the artistic conception of the work, which is divided into several storylines. One depicts young people whose eyes are full of joy and hope (the climax in the development of the first image is the second section, in which the composer turns to the real picture of a holiday and revelry), in another storyline the composer uses a certain mode and intonation complex that conveys drama and the tragic nature of the main character’s thoughts about the fleetingness of time. In the conclusions, the author claims that the research revealed an extraordinary expressiveness of the composer’s musical-figurative semantics and an inseparable unity with the author’s thought of the poet.