GENRE AND STYLE SPECIALIZATION OF SOLO SINGING IN M. V. LYSENKO'S MUSICAL WORKS

Abstract

The aim of the research is to reveal the factors and regularities of genre and style specialization of M. V. Lysenko’s chamber vocal pieces of. The methodological basis of the paper is the theoretical principles of analytical methods of working with vocal pieces as a group of genres of vocal music in its inherent immanent nature: it is a synthetic formation (synthesis of the Word and the Music), where verbal text and certain principles of its musicalisation (generalization, detailed elaboration or their combination) are of primary importance. Hence, all the structural components of solo singing (vocal melodies, instrumental part) should be considered in terms of musical embodiment of the poetic original (architectonics of vocal melodies and instrumental themes), and include the aspect of the relationship of authorial systems (Composer – Poet). The scientific novelty of the research is presentation of the laws of genre and style specialization of Ukrainian solo singing, which in the creative experience of M. V. Lysenko are a classical basis of genre differentiation of chamber vocal works: the songs in the folk spirit, romantic songs, romances, monodramatic solo singing/ monologue. Conclusions. Such a phenomenon as Ukrainian solo singing is justifiably considered to be the symbolic embodiment of the Ukrainian mentality (episteme of “philosophy of the heart” / cordocentrism and reflectivity of worldview). Therefore, it is not surprising that as a genre form of chamber vocal lyrics the solo singing occupies a prominent place in the creative heritage of M. V. Lysenko, the founder of the Ukrainian national school of composition. It was he who worked out the internal genre and style differentiation of solo singing in its classical foundations. According to this, the very concept of "solo singing" claims to denote such a wholeness as "chamber vocal lyrics" with its genre and style variants, each of which is focused on certain principles of musical poetic relations. The latter, in fact, determine the technique of vocalization of the verbal text with a focus on the embodiment of the poetic code in accordance with the genre specifics. This determines the differentiation of architectural principles of vocalization of the poetic original (a measure of reproduction of declamatory specifics of musical expression) and intonation texture specialization of instrumental themes, which also always has a differentiated expression in the system of music-poetry relations. Subsequently, the classical foundations of genre and style specialization of solo singing laid by M. V. Lysenko became genre invariants and entered the works of modernists (for example, solo songs by Nestor Nyzhankivsky and Vasyl Barvinsky) as ways of modelling the genre form of chamber vocal lyrics without loss of connection with invariant structures.