The concept of “Linguistic structure” as the basis of the Methodic for analyzing Vocal Composition

Abstract

Relevance of the study. In the art vocal music of the second half of the 20 th — early 21st centuries the approaches to the selection of verbal texts are changing, they become the fundamental principle of musical works. The variety of verbal lines gives rise to a variety of composer’s work with them. Composers offer different, including previously unused, ways of working with a verbal text. In this regard, it is necessary to find new methods for the analysis of modern compositions, because traditional methods are no longer suitable for such material. The purpose of the study. The using of the concept of linguistic structure for the analysis of modern vocal scores and its approbation on the example of “Choven” (“Boat”) for three voices a cappella by Alla Zagaykevych is proposed. Methods. The article is based on general scientific and especially scientific methods. Among general scientific methods descriptive, comparative, systemic ones are applied. Among special scientific methods structural and functional ones are used. The results and conclusions. The conception of “language structure” was developed in structural linguistics and is now common in linguistics. It is based on the consideration of verbal language as a holistic system, which is divided into four tiers: phonological, morphological, lexicalsemantic and syntactic. Each tier has a main element, which is the smallest component in its layer. The composer, choosing a specific verbal text, works with it, applying changes at different language levels, which leads to individualization in the interpretation and sound embodiment of the verbal source. Based on the concept of language structure, a method of analysis of a modern vocal work is proposed, which in the article finds approbation on the example by Alla Zagaykevycs work “Choven” [“Boat”] on the text by Mykola Vorobyov’s poetry. It is proved that the composer works only on three language levels: phonological, morphological and lexical-semantic. It was found that when the composer is working at the phonological level it is important to highlight a separate phoneme, presenting its sound color. At the morphological level, the key is the morpheme, which becomes the main expression of the image. If M. Vorobyov works only at the lexical-semantic level, then A. Zagaykevych develops two other levels (phonological and morphological), based on the fact that the lexeme is a combination of smaller quantities. To identify the core of the lexeme, the composer breaks it down into smaller details: from the most important lexeme “choven” the phoneme “ch” stands out, which becomes the core of the whole composition.