Interaction of verbal and musical semanticsin chamber and vocal creative work of S. Slonimsky

Abstract

Research objective is to consider the principles of interaction between verbal and musical semantics in chamber and vocal music, highlighting the work of S. Slonimsky as the main object of study. Based on the study of a wide range of musicological studies, the artistic possibilities of the relationship between words and music as an artistic unity are revealed. The methodology of the work is based on an interdisciplinary comprehensive research framework, which includes the use of literary, musical and historical, musicological, analytical and semantic approaches. The scientific novelty is due to a holistic approach to the analysis of chamber and vocal creative work in the musical culture of the second half of the XX – early XXI centuries, which allows us to consider the ratio of the verbal and musical levels as a single composer’s poetics. Conclusions. A prerequisite for the existence of the genre sphere of chamber vocal music is the relationship and constant dialogical interaction of two independent semiotic systems – word and music. Despite the many parameters that unite these two systems, we are still talking about two independent phenomena that have their own unique specifics and powerful artistic potential. In chamber and vocal creative work, the verbal and musical semiotic systems are united by a common artistic task, which becomes the basis for developing the principles of their interaction and the formation of a complex of stylistic parameters that allow the figurative and semantic content to be embodied. The artistic synthesis of the verbal and musical levels in chamber and vocal music in general, and in the compositions of S. Slonimsky in particular, is primarily based on two most important features – on the one hand, on the fundamental closeness of musical and verbal language systems and on the relationship of the principles of organizing the intonation process, and on the other hand, on the difference in the possibilities of transferring the artistic-figurative and content components, which have a fundamentally different nature.