Abstract
The Interaction of Poetic Text and Music in Opus 49 by J. Brahms
Highlights
ХVI ■ Аспекти історичного музикознавства in his orientation to musical embodiment of a generalized poetic image. This issue requires more detailed study, since the composer was very sensitive to the poetic text, in particular, from the point of view of coordinating the intonation-phonetic features of German language and vocal intonation
1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the XIX century; 2) intonational method, which involves the study of vocal melody in terms of phonetic-tonic links; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work
The composer did not have any tendency to the songs cyclization, the vocal miniatures, assembled in one opus, appear to be lyrical notes, self-contained but united by poetic motives and nature of the author’s expression
Summary
ХVI ■ Аспекти історичного музикознавства in his orientation to musical embodiment of a generalized poetic image. Methods: 1) historical method, allowing to comprehend the selected material in the perspective of the development of Austro-German song of the XIX century; 2) intonational method, which involves the study of vocal melody in terms of phonetic-tonic links; 3) genre method, caused by the features of chamber vocal lyrics; 4) stylistic method, corresponding to a specific opus consideration in the general context of the composer’s creative work. The soft consonants and vowels should be regarded as the ideal vocal sound, that is, a model for other phonemes in musical-poetic text.
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