STRUCTURAL AND SEMANTIC INVARIANT OF THE MUSICAL TEXT AS A CULTURAL TEXT: A PRACTICAL ASPECT

Abstract

The purpose of the article is to present the latest analytical algorithms for the real musical text as a cultural text, which is considered as its structural and semantic invariant as a means of communication. The research methods are structural and hermeneutic, modeling, and functional. The results of the study are based on the proof that the constructs of this invariant have a synergistic nature – close interaction and transversality of manifestation. To visualize this interaction, the author proposes a model of the architectonics of the World of Music as a sound intonation environment and the art of intoned meaning. These are concentrically located planes that are the levels of its construction. Namely: musical lexemes (the center of the model); intonational relief of thematic material; type of compositional and dramatic logic; invariant of genre form; invariant of style; historical type of culture in the dimensions of the “spiritual situation of time”; historically relevant worldview paradigm; intonational continuum. It should be emphasized that there are interconnections between the above-mentioned constructs of the model, in which the traces of other constructs “shine through” each time. Therefore, both centripetal and centrifugal movement from the center of the model to its closing “field” is of great importance, which actually permeates the entire model with the idea of the intonational nature of the World of Music as a whole. The practical feasibility of the developed model is ensured by the latest concepts and categories of modern systematic musicology, such as “intonation model” (V. Moskalenko), “intonation image of the world” (Yu. Chekan), “typology of compositional and dramatic structuring” (N. Horyukhina), “semantics of genre form” (M. Aranovsky, T. Sumonova); “meta-logic of style” (O. Zvyalova, M. Yarko), ‘psychoanalytic dimensions of individual composer's style’ (M. Yarko), ‘national-cultural identity in the matrices of ethnic and national forms of identity’ (M. Yarko), ‘allusive way of developing national style’ (M. Yarko), ‘Ukrainian academic song’ (B. Vodianyi, T. Zadorozhna), etc. The conclusions of the study and its practical significance are closely related to musicology and music education practice: information about the architectonics of the World of Music and the structural and semantic invariant of the musical text as a cultural text can provide a high degree of praxeological and heuristic potential for both research and educational activities. In particular, the prospects for further research in this area are seen in connection with the projections of the development of cognitive expansion of consciousness with the intention of deeper knowledge of the spiritual world of artistic creativity.