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Scientific journal
Название журнала на английском
ISSN 2500-0802
ПИ №ФС77-61154
ISSN 2500-0802
ПИ №ФС77-61154
MUSIC AND WORD DIALOGUE IN THE VOCAL CYCLE E. GOHMANN «SLEEPLESSNESS»
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Article is devoted to a vocal cycle on M. Tsvetaeva’s verses Saratov the composer Je. Gohmann «Sleeplessness» which is considered in a foreshortening of an intertekstualny dialogichnost of music and poetry. The methodological basis of article is a three-level hierarchy of intertexts, described by M. Cancer in «The Queen of Spades Tchaikovsky brothers»: an obvious intertext (poetic source), the central text (actually a piece of music), and a secret intertext, manifesting itself not on the level of plot and revealed through all kinds of linguistic anomaly. It is from the surface to the deep level of meaning directed intertextual analysis of the «Sleeplessness «. Already at superficial level in «Sleeplessness» find itself various anomalies of musical development which indicate existence there is nobody a deep plot (free circulation with the poetic texts, an unusual musical embodiment of this or that poem, etc.). At structural and composite level the three-staging of dramatic art regulated tonality (existence of binary couple g-moll–G –dur and its transformation at the end in G –dur –gis-moll) and intonational rhythmic (first of all, presence of two constants – the rhythmic structures arsis and the thesis) comes to light. The conclusion is drawn that this three-staging is three-staging of an initial ceremony. During disclosure of an internal plot of the composition beating of two mythological systems – the solar and daily and lunarny myth is found. The final part «Light silent» where as the author’s myth the orphic myth is approved becomes an outcome of this beating. Thus deep distinction of world outlooks of the poet and the composer which can be expressed in an opposition of the concepts «I for Itself» and «I for Another» (Bakhtin) and contrasts of myths about Orpheus and Narcissa is shown.