Poetics of the symphony genre in the discourse of cognitive musicology (a case study of V. Silvestrov’s works)

Abstract

Statement of the problem. The article is devoted to methodological problems of musical science, namely, to the functioning of the category of poetics in the analysis of the symphony genre. This approach is especially relevant when considering samples of a modern symphony, which embodies the genre invariant in the most individualized way, and needs new approaches to comprehend its innovative nature. Analysis of recent research and publications. The problems indicated in the article reach three levels of research: poetics as a category of musicology, the genre of the symphony, and the phenomenon of cognitive musicology in modern domestic science. Among the important studies of poetics, we can point out the analytical research performed by A. Polishchuk. As for the symphony genre, the works by O. Zinkevych are the most important. The problems of cognitive musicology are being developed at the department of interpretology and analysis of music of Kharkiv I. P. Kotlyarevsky National University of Arts under the leadership of L. Shapovalova. Also, the main provisions of the study are outlined in more detail in the dissertation of the author of the article. Main objective(s) of the study – approbation of the mode of poetics of the symphony in cognitive musicology using the examples of early symphonies of V. Sylvestrov, which are significantly different from the established models of the embodiment of the genre invariant of the symphony; awareness of their innovative nature and specificity through the category of poetics. The scientific novelty consists in the correlation of the category of the poetics of the symphony with the ontological foundations of music, as well as in the application of this approach to the analysis of the ontogenesis of V. Sylvestrov’s early symphonic creative work as a stylistic system. Methodology. The research uses the following methods of modern humanities and musicology: genre, structural-functional, onto-sonological, semantic, hermeneutic, and cognitive. Results. Poetics is a methodological mode that works in the analysis of the phenomenological nature of modern symphony samples, since it, unlike the established categories in musicology, takes into account both musical and nonmusical discourses, allows to correctly illuminate the nature of the modern symphony, which goes beyond the structural invariant. Poetics is understood both as a methodological guideline that allows for the interpretation of different-level manifestations of the specificity of the composition, which reveal its ontological nature, and as a system that embodies the inner language of the author at all levels of the musical composition. Conclusions. The being of the symphony genre and the experience of its analytical comprehension is a moving, “livsng” semiotics system in musicology. The poetics of the symphony as a way of inhabiting existence, its structuring reaches the level of the world picture, which embodies the dichotomy “Me – World” and distinguishes its most essential quality – ontological.