Poetics of chamber-vocal creativity of Ch. Gounod: the performing aspect

Abstract

Formulation of the problem. The study of the national musical tradition in its individual and stylistic manifestations is one of the relevant areas of modern science. To do this, one can apply different coordinate systems, some of which are measured by special phenomena: communicative regularities, emotional and creative energy, synergy, phenomenology of creativity. Among such concepts, a separate place is occupied by poetics, which in the field of musical art has specificity at different levels of creation and existence of a musical composition. From this point of view, it is possible to consider both the newest phenomena of musical art and the familiar ones, such as, for example, the chamber and vocal compositions by Ch. Gounod. The analysis of publications on the chosen topic shows that Ch. Gounod’s chamber and vocal work in musicology has, as a rule, a traditional historical and compositional-stylistic dimension. Its performing profile is not involved, which requires correction of the research situation with the help of the prism of the poetics of creativity – both composing and performing. Moreover, the concept of poetics of musical art is presented by scientists quite powerfully (E. Arefyeva, N. Belichenko, I. Vavshko, E. Nazaykinsky, Yu. Nikolaievska, I. Romanyuk, N. Ryabukha, S. Shchelkanova, J. l. Kreiling, J. Malek, etc.). Therefore, there is a need to update the creative work of composers of the past with the help of characteristics of the poetics of both composing and especially performing creativity. All this determines the scientific novelty of the presented research, which is related to the characteristic of the poetics of the chamber-vocal creative work of Ch. Gounod from the perspective of performing specificity. The purpose of the scientific work is to identify the main parameters of performing specificity related to the poetics of Ch. Gounod’s chamber and vocal creative work. The research methodology is based on a complex combination of several scientific directions: studies devoted to poetics in music in general, as well as in the creative work of individual composers; scientific works related to Ch. Gounod’s creativity. Research results and conclusions. One of the concepts that should be used to understand Ch. Gounod’s vocal style is precisely poetics as a combination of the general parameters of the composer’s style, the figurative and semantic plan of the composition and a complex of specific means of expression, including purely performing ones. The embodiment of the immediate feeling of being in its lyrical perspective of everyday French music in academic genres forms the basis of the poetics of Ch. Gounod’s vocal creative work. The combination of the poetics of academic and everyday vocal art is the core of the poetics of Ch. Gounod’s vocal style, which ensures both simplicity and complexity of its embodiment. Ch. Gounod’s vocal style (both composing and corresponding performing ones) can be defined as a genre style, taking into account the total correspondence to French everyday vocal genres.