THE CONCEPTUAL SPHERE OF UKRAINIAN ACADEMIC SONG IN THE CONTEXT OF METHODOLOGICAL BASES OF ANALYSIS OF MUSICAL AND POETIC CORRELATIONS

Abstract

The definition of “Ukrainian academic song” today constitutes a highly generalized criterion for understanding Ukrainian chamber vocal creativity in general and its conceptual designation as “Ukrainian solo singing.” But the problem is that the latter is a designation of purely resource-based equipment of a chamber vocal work. Consequently, it bypasses the mental structure of the phenomenon, which is based on the spiritual experience of the Ukrainian academic tradition as a national phenomenon such as the conceptual sphere of Ukrainian academic song. After all, the internal “semantic rhythm” of the conceptosphere of Ukrainian academic song is its genre and style diversity as micro-conceptospheres: folk song, romance, romance song, and mono-dramatic solo singing-monologue. All of these are semantic definitions of a genre type, for which there are certain norms of musical and poetic correlations. Thus, for a “song in the folk spirit” there is a high degree of generalization of the figurative program of the verbal text; for a “romance” there is a high degree of detailing of the figurative program of the verbal text, which involves the identification of speech intonations and the “conversational genre”; for a “song-romance” there is a synthesized role of both generalizations and detailing, which is very characteristic of a folk lyrical song; for a monodramatic solo chant-monologue it is theatricalization, a high degree of personification of the figurative content of the verbal text and the “voice” of the Poet. The listed invariant structures of chamber vocal creativity provide a systematization of its concepts, which act as constant archetypal models of musical and poetic relations. All of this is the basis for concretizing the musical and speech resource of genre varieties of solo singing as micro-concepts, the totality of which constitutes an idea of the conceptual sphere of Ukrainian academic song. In particular, the analytical need to distinguish genre-stylistic varieties of Ukrainian solo singing as micro-conceptospheres is due to their lexical “signification” and the very nature of the genre of vocal genres, which is based on the idea of synthesis between Word and Music, which obliges us to consider a chamber vocal work on the basis of methodological provisions regarding vocal music as different from “pure” / instrumental music. Thus, the primary factors for comprehending a chamber vocal work are the ways and methods of musical re-imagining of the verbal text. First of all, in the features of the architectonics of vocal melody, which is intended to convey the meaning of the poetic source. In turn, the meaning of this formulation of the question comes down to singling out the varieties of chamber-vocal works by Ukrainian composers as certain conceptual structures. All of this is the basis for specifying the musical and speech resource of chamber vocal works, its adequate interpretation as a means of embodying artistic images in accordance with the artist's creative intent, as well as the basis for observing the academic style of singing, which would correspond to the concept of the conceptual sphere of Ukrainian academic song.