Semantic aspects of harmony: the phenomenon of unlocked structuresin romance lyrics of XIX century
Journal Title: Проблеми взаємодії мистецтв, педагогіки та теорії і практики освіти - Year 2018, Vol 49, Issue
Abstract
The revealing of methodological effectiveness of integration interaction of different methods of analysis and scientific reflections for analytical procedures is relevant in the context of the intersection of interests of studies of harmony and musical semantic. Main objective of the study – to designate semantic aspects of harmony in conditions of unlocked structures on material of romances of the nineteenth century. Methodology. An integrative methodological projection of algorithms of study tonally-harmonic and compositional processes on the procedure of musical semantic analysisis proposed. General outline of the analytical operations deployed 49 in several discourses: •functional-harmonic and compositional analysis ofthe piece in its entirety, taking into account the poetic framework; examine the nature of the interaction of harmonic and compositional logic; • the isolation of the verbal text of the key signs of poetry - semantic words; determination of their compositional arrangement in musical form; • segmentation of musical intonation tokens, their selection from the text of the work, revealing the breadth of contextual coverage of meanings and semantic potential; correlation with the semantics of «migratory genre and intonation formulas»; • detection ofspecificity of implement semantic elements within the analyzed text or composing style, revealing of aspects of particular musical semantics; detection meaning of harmonic connection tokens, wich unlock structure, with the word and the melodic intonation; definition of internal, external and immanent, extramusical nature ofthe phenomenon; establishing its degree ofsemantic activity. Results. Varieties of unlocked structures are systematized: with system-logical parameters – functionally, subsystemically and modulation unlocked structures; with phonic parameters – dissonance and consonance unlocked structures; with causal parameters – potentially and principally unlocked structures. External or extramusical and internal, immanent-harmonic motivations of their forming are identified. Among the external factors of unlocking are articulated: the impact of the poetic word as the source of empathy; irreversible course of imaginative mutations; retention of states innuendo, incompleteness, undecidability, anxiety, confusion, fear; semantic marks of question,surprise, regret. The gap of functional balance in the phase of clotting of harmonic integrity is seen as a reaction to the motion of meaning. Among the internal factors the unlocking are highlighted: density and irreversibility of modulation streams; phenomena of modal variability; the impact of modal experience of regulation of harmonic processes; the power of cyclic unity; inner aspiration to an open form as allusion of infinity. Functional inversion, and the special status of the tonal system with reduced centripetal potential (Y. Holopov) are listed as an important incentive of the unlocking. The phenomenon of the unlocking as a principle (the mechanism) the organization of text units of harmony is investigated in conjunction with the semantic field of piece, music tokens, artistic word and meaning. Factors of the displacement of semantic connotations fixing of keywords, semantics of "migratory genre and intonation formulas" (L. Shaimukhametova) during the formation of the vertical layers of music are considered. Three positions based on analysis of the works of R. Schumann, F. Liszt, G. Mahler, P. Tchaikovsky, M. Mussorgsky, illustrating the semantic nature of the harmonic disjunction are allocated. Филатова Т. Семантические аспекты гармонии: феномен разомкнутых структур... 50 Ïðîáëåìè âçàºìî䳿 ìèñòåöòâà, ïåäàãîã³êè òà òåî𳿠³ ïðàêòèêè Âèïóñê ¹49 Position 1: harmony as meaning generator. It acts at the level of the formation of intonation and harmonic tokens – pitch compacted units of musicalsense, elements of particular musical semantics. It forms a zone of high concentration of semantic elements in a vertical cut of music. It is fixed in vocal miniatures: R. Schumann’s «Im wunderschonen Monat Mai», F. Liszt’s «Verlassen», M. Mussorgsky‘s «Orphan». Position 2: harmony as a regulator of meaning. It acts at the level of the changes of emotional amplitudes. It provides strength and depth of emotional impulse. It revealed in F. Liszt’sromances and songs: «J'ai perdu ma force et ma vie», «Sonetto XC», «La?t mich ruhen», «Was Liebe sei?», «Einst». Position 3: harmony as a modulator of meaning. It affects to the level of tonal drama, transformation of semantic field of piece. It transforms the track of pitch content irreversibly. It appears in the case of a harmonic unlocking of the modulating type, wich running contrary to the idea of rounding tone frame. It shifts whole pitch platform of musical piece under the combined influence of intonation, word, number of plot and drama of movement of meanings. It formsin vocal works: F. Liszt’s «Gebet», P. Tchaikovsky’s «We were sitting with you», M. Mussorgsky’s «General», G. Mahler «Erinnerung»
Authors and Affiliations
Tetyana Filatova
Keywords
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- EP ID EP543595
- DOI 10.34064/khnum1-49.04
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