Vocal Cycle of Yaroslav Vereshchahin «Laughing Spring»: Formation of Musical and Poetic Integrity
Keywords:Ya. Vereshchagin's work, vocal cycle of Yaroslav Vereshchagin «Laughing Spring», musical and poetic integrity
As it is known, one of the main principles that determine the cycle is its integrity, which is especially defined in the dramaturgical idea. Integrity formation is always a separate task for the composer. After all, each of the miniatures can exist as a separate unit. The composer's main task is to find internal connections and combined logic. The process of organizing the cycle, of course, depends on many factors and is always individual. Therefore, despite the fact that the general theory, in which integrity issues are developed, is more or less presented in the scientific literature, addressing this topic will always be relevant. In addition, the work that is analyzed, has not yet come into the field of scientists view, which also enhances the relevance and novelty of the study.
Main objective of the study is to identify the peculiarities of the formation of musical and poetic integrity in the vocal cycle of Ya. Vereshchagin "Laughing Spring". The object of research is the vocal cycle of Ya. Vereshchagin based on V. Mordan’s poem “Laughing Spring”. The subject of research – ways of organizing musical and poetic integrity in the cycle of Ya. Vereshchagin "Laughing Spring".
The methodological basis of the study are methods of analysis of poetic text, features of the interaction of word and music, structural and genre analysis.
The vocal cycle of Ya. Vereshchagin "Laughing Spring" is analyzed for the first time in this research. In particular, the methodology of analysis of vocal genres and vocal cycles was developed. The principle of the composer’s selection of V. Mordan’s poems for the vocal cycle was clarified and the specifics of constructing the poetic basis were studied. Analysis of the poetic source allows us to talk about the rather careful work of the composer on the formation of integrity at the initial, pre-intonation level. It can be traced that Ya. Vereshchagin chooses poems by V. Mordan with a common watercolor basis and landscape themes. The selected poems are similar in structure and have a small volume. The composer builds from them the corresponding storyline: a calendar cycle, a life cycle. In addition, he chooses poems that have a common phonetic sound – the ones that have many vowels and very often when pronouncing the emphasis is on vowel sounds.
The conclusions form the main features of the integrity of the cycle at the verbal and musical levels. Thus, it is noted that the cycle, written not on the "poetic cycle", but on individual poems by one author – V. Mordan, thanks to the diligent work of the composer at almost all levels of interpretation of the poetic source (from pre-intonation to the end result) becomes a kind of guarantor of perception this cycle as a single, integral piece of music.
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