CC BY
30
Mikhailova Elena Vladimirovna, Ph.D. (Philology), Associate Professor, Associate Professor of the Department of Humanities and Social Studies at the Educational Institution of Belarusian State Academy of Music, Minsk, Republic of Belarus
MUSICAL AND POETIC DISCOURSE AS AN EXPLICATION OF THE INTERNAL UNITY OF DIFFERENT ART FORMS
Аннотация
Статья посвящена музыкально-поэтическому дискурсу, являющемуся экспликацией внутреннего единства различных видов искусства. Описываются истоки теории дискурса, музыкальный и поэтический дискурсы; дается определение музыкально-поэтического дискурса, перечисляются ситуации, в которых он реализуется, а также приводятся примеры экспликации музыкально-поэтического дискурса в русской и белорусской поэзии XIX-XX вв. и взаимодействия музыкально-поэтического и учебного дискурсов.
Музыкально-поэтический дискурс в русской и белорусской поэзии XIX-XX вв. объективируется в стихотворных произведениях, связанных с темой музыки, и в поэтических сочинениях, положенных на музыку. В первом случае дискурс реализуется благодаря средствам поэтической фонетики (ассонансам, аллитерациям, звукописи, звукоподражаниям), музыкальным терминам и словам из семантического поля 'музыка' и т.д. Во втором случае - благодаря возможностям поэтического, музыкального искусства, а также мастерству исполнителя. Музыкально-поэтический дискурс побуждает реципиента к творческому восприятию произведений искусства, а также к сотворчеству, к максимальной полноте восприятия художественного целого, к пониманию вечности и неисчерпаемости общечеловеческих ценностей.
Ключевые слова: музыкально-поэтический дискурс, концепт «музыка», музыка, поэзия, искусство.
In the second half of the 20th century there was a tendency to integrate the achievements of various humanities when developing a communication theory. In this process a language acted as an intermediary because a dialogue and polylogue are possible by means of the language. However, the research approach to the language has changed: currently it is analyzed from different perspectives, including that of discourse, while cultural and social aspect prevails in the analysis. The very term discourse is interdisciplinary; it is used in linguistics, philosophy, cultural
studies, political science, psychology, etc. The word discourse as a term entered the Russian "... linguistic tradition through the works of linguists, structuralist and poststructuralist philosophers (Searle, Van Dyck, Foucault, Benveniste, Hallideus, etc.)" [6, 87]. The definition of the discourse "... still remains a prime focus of modern scientific discussions; this is its relevance and scientific value" [4, 86]. Discourse is "...a coherent text in conjunction with extralinguistic - pragmatic, sociocultural, psychological and other factors, the text taken in the event aspect..." [2, 136]. Discourse "... has neither beginning, nor end, and therefore it is impossible to determine when and where one discourse ended and another began" [7, 23]. We explore discourse from the semantic-cognitive and linguoculturological points of view.
There are different types of discourse, which is associated with the diversity of forms of language functioning in certain spheres: scientific, educational, political, economic, medical, artistic, historical, etc.
Artistic discourse is implemented in all art forms: literature, music, painting, architecture, sculpture, etc. In the artistic whole, different types of discourse have an isomorphism - the identity of the structure, as well as the possibility of expressing the content through artistic images.
Musical discourse is created during the dialogue of the following parties: composers, performers and listeners. Units of musical discourse - rhythm (tempo, time-value, rhythmic patterns, etc.), melody (pitch level, modes, pentatonic scale, chromatic scale, change in the pitch of notes, steps, etc.), texture, polyphony (sub-voice, contrast, imitation, etc.), harmony (accord, harmonic motion, harmonic form), musical form (simple, compound forms, song form, variation form, rondo, sonata form, rondo-sonata form, etc.), symphonic orchestra (types of orchestras, string bowed instruments, woodwinds, brass wind instruments, the percussions, etc.), genres of music (instrumental, vocal, musical and theatrical genres). The characteristic features of musical discourse are tempo, dynamics, articulation, performance technique, etc.
For poetic discourse communication between poets and readers is important, sometimes translators act as intermediaries between them. Units of poetic discourse are as follows: a literary work as an artistic whole; creative methods (realism, etc.); literary and artistic form and content; kinds of literature (epic, lyrics, drama); literary genres (epic - short story, story, novel, etc., lyric - ode, elegy, epigram, etc., dramatic - tragedy, drama, comedy, etc.); character system, plot and conflict, composition; artistic speech, speech in the nominative and lexical-morphological function; words possessing allegorical figurativeness and expressiveness (metonymy, metaphor, irony, simple comparison, etc.) and verbal-object allegory (personification, detailed comparison, images-symbols, images-allegories, etc.); intonational-syntactic expressiveness, rhythmics and phonetics of artistic speech (versification systems, etc.); literary process; literary trends (classicism, romanticism, etc.), etc. Characteristic features of this discourse are formedness of verses, their rhythmicality, sound colouring, lyricism, etc.
The concept of musical and poetic discourse is based on the idea of the internal unity of different art forms. Historical and stylistic manifestations of literature, music, painting, etc. have common features, for example: "Painting canvas "sounds"... Music can be picturesque, figurative... Both art forms are connected with unexpected associations; their language systems for all their differences
allow analogies, comparisons, and similes. Especially interesting are the cases when composers are aware of the fundamental role of painting in their insights, breakthroughs, and discoveries" [1, 25]. The musical manifestation of poetic images, the picturesque embodiment of musical phenomena, etc. bear similarities. Syncretism of all art forms at an early stage of human development is the basis of this provision. The emergence of lyrical poetry from the song, the fusion of poetry and music -all this served as the basis for the unity of music and poetry. The musicality of poetry is a peculiarity of poetic rhythm, intonation, etc., as well as the depth of lyrical feelings and emotions. The poetry of music is a peculiarity of its programming and content. Both music and poetry possess expressiveness: "The expressiveness of the melody of the verse is also created by a variety of rhythms; they show, like in music, its genre nature, make the artistic image embossed and cause numerous musical associations" [1, 47]. Poetry has phonetic, lexical and other expressive means.
The musical and poetic discourse is the results of the reflection, transformation and aesthetic evaluation of the objective reality in terms of music - non-depictive, temporal performing art expressing the emotional state of a person by means of various sound changes - depicted by rhythmic, melodic, textural, polyphonic, harmonic means of the musical language and by phonetic, lexical, grammatical and figurative means of the poetic language.
Culturological dominants of this type of discourse are the units of the mental sphere - the concepts of music, poetry, etc.
Musical and poetic discourse manifests itself in the following situations: 1) community of poetry and music; 2) when expressing the concept of music in poems on various topics; 3) in poems on musical topics; 4) in poetic works set to music (musical and poetic works). Poems about music can be as follows: 1) describing music; 2) correlated with music in terms of author's reflections.
Poetry has a commonality with music in various situations, for example, when the same genres and forms are used in both art forms, for example, a ballad, etude, etc.: "Some of them - a song, a romantic song, a rondo, a ballad - originated in the literature of the Middle Ages, in the poetry of the Arab East (for example, rondeli) and became typical of music. Others - a fugue, a sonata, a lullaby -were borrowed from music by the verbal art. A sonata form with its dramatic art of contrasts, intensive development of images, an overall result was particularly attractive to poets" [1, 62].
Musical and poetic discourse concentrates around the supporting concept of music. The concept of music consists of the core and periphery. The core of this concept is the concept of musical sound and its explications - the objects that create it (musical instruments), which embody it in a certain form (musical genres), unite works by means of techniques and musical expressiveness (movements and trends in music), etc., or correlate the tonal characteristic with positive or negative poles of the human emotional sphere. On the periphery of this concept there are various additional meanings, information about the possible application of the concept of music and its parts. Images associated with music are clear and close to people of different nationalities because they include the universal content. Consequently, when working with these images, the process of intercultural communication is carried out. These images have an interdisciplinary character as they are created by means of history and theory of music, musical aesthetics, literary criticism, etc. The image of music is interconnected with images of painting, architecture, literature, choreography and theater. This
image has a diverse emotional content: from major (with various modifications) to minor (with a great number of inflections). Our research is based on the material of the Russian and Belarusian poetry of the 19th-20th centuries. A continuous sampling method was used to study the poetic works of 10 Russian (A.S. Pushkin, I.F. Annensky, A.A. Akhmatova, A.A. Blok, V.Ya. Bryusov, N.S. Gumilev, S.A. Esenin, O.A. Sedakova, M.I. Tsvetaeva, V.F. Khodasevich) and 10 Belarusian poets (F.K. Bogushevich, M.A. Bogdanovich, K.A. Builo, A. Harun (A.V. Pruszynski), V.A. Zhilka, Ya. Kolas (KM. Mitskevich), Ya. Kupala (I.D. Lutsevich), P.A. Trus, Tetka (A.S. Pashkevich), E.I. Yanishchits). The poems of other authors were also used.
In the Russian poetry of the 19th -20th centuries musical and poetic discourse is organized by means of the concepts of music, poetry, word, emotions, feelings, time, love. Descriptions of song and dance hold an important place in its structure.
In the Belarusian poetry of the 19th-20th centuries musical and poetic discourse is characterized as follows: the concept of music is associated with the concepts of emotions, feelings, soul, heart; the theme of the reviving action of art is significant for it, and the image of song holds a dominant position.
For example, I.F. Annensky's concept of music forms a picture of the poet's world in terms of its polyphony; it has a connection with the concept of heart objectifying the inner world of the creator, and does not correlate with the concept of word. The theme of music runs like a golden thread through A.A. Akhmatova's poetic works, intersecting with the themes of a temporary and axiological nature, interacting with the concepts of love, emotions, feelings. Akhmatova's worldbuilding is of musical character.
For example, M.A. Bogdanovich's concept of music correlates with the concepts of silence, emotions, feelings, soul, and heart. In the structure of the concept under consideration singing is given more attention than to instrumental music and dancing. In K.A. Builo's poetry the concepts of music and poetry are associated with the concept of song, the image of which has an individual and author's character. Both of these concepts are correlated with the concept of Motherland.
The Russian poetic language embodies the images of symphony, song, dance; the guitar, the flute, the harp; P.I. Tchaikovsky, A.N. Scriabin, I.S. Bach, L. van Beethoven, F. Chopin, and others; in Belarusian - the images of folk songs, violins, etc. Thus, in the Russian musical and poetic discourse, the following features of the image of symphony are formed: its large size, deep conceptual content, philosophical character, connection with significant public events and other arts, variety of instruments involved in its performance. The guitar is one of those instruments that are most widely used, most democratic and close to people; with their help not only a professional, but also any person who loves music can show the beauty of life. The guitar is personified and embodied in the female image, it is very important for the persona of the poems; it is associated with emotions and feelings as close as possible to the person. P.I. Tchaikovsky's image in the Russian language worldbuilding is embodied as the image of a person engaged in music, who loves his/her own home; living an active life; this person is emotional, creative, his/her works express all categories of human life and affect the feelings of people. Every person discovers his/her own Tchaikovsky, sees life and cognizes the world due to his works; becomes wiser, more beautiful and better if in his/her heart
there is a space for a beautiful world of the genius composer and musician.
The image of the Belarusian folk song in Ya. Kupala's poetry has national and cultural features and connection with Belarusian music. In his poetic world the songs are played on Belarusian folk instruments, they are related to the native word. A folk song is very important for Ya. Kupala, he was taught to create songs by the people. The image of the Belarusian folk song for Ya. Kupala is a syncretic image of the genres of poetic and musical art, closely connected with churly life, reflecting the native nature, the features of the Belarusian character as well as implementing the thoughts and feelings of ordinary people. In the Belarusian poetic language, the image of the violin embodies moral and cultural values, the image of a person and his/her inner world. The instrument is personified, endowed with magical power, symbolizes a creative person, etc. The image of the violin includes both a universal semantics (a violin as an instrument, playing which you can express almost any content) and semantics conveying the characteristics of Belarusian culture (the violin as a symbol of national revival, creativity in general).
A lot of works of Russian and Belarusian poets were set to wonderful music.
Musical and poetic works are songs and romantic songs. Some works by E.I. Yanischits are set to music. The poem "Seek Me Out, Send Me the Call!" [5, 186] was set to music by the composer A.A. Preslenev and became the song "Everything Begins With Love" (translation from Belarusian into Russian by L.N. Vasilyeva) [3, 5-7]. In the song there are 2 verses. They are about the feeling of love which, in the poet's opinion, everything begins with: "Seek me out, send me the call! // Then we'll wander in the grasses. // True, with love commences all - // All which for reality passes. // Only be sincere in soul // On life's road of shine and shadows. // True, with love commences all - // Our first step and our first gladness. // Spring begins with the nightingale, // With the freshet's murmuration. // True, with love commences all - // Pain, and hate, and separation. // Seek me out, send me the call! // Roads behind, ahead, forbidding. // True, with love commences all - // Otherwise there's nought in living» [5, 187]. In this poetic text there are repetitions ("Seek me out, send me the call!" [5, 187]), homogeneous members of the sentence ("True, with love commences all - // Pain, and hate, and separation" [5, 187], etc.), etc., which facilitates its musical embodiment.
In music and poetry discourse poetry and music are often inseparable: "In Russian poetry, the echo of music is often heard: in A. Akhmatova's poems it is the "shadow of music" by the great masters from A.Vivaldi, I.S. Bach, V.A. Mozart, F. Chopin to I. Stravinsky, D. Shostakovich; O. Mandelstam found sources of inspiration in the blessed heritage of composers of different epochs - from P. Palestrina to A. Scriabin - ... In the most difficult moments of life, music opened up the highest truths to the poet ... Numerous examples speak for the origin of poetry from the "spirit of music" (like in antiquity the spirit gave birth to tragedy, a Chopin etude engendered poetic lines), and they are not less convincing than the reflections and statements of poets about "hidden music" as an indispensable condition of the writer's being" [1, 37-38].
Musical and poetic discourse intersects first and foremost with the educational discourse, the main purpose of which is teaching (in this case - teaching Russian to different categories of students, including foreign students, undergraduates and post-graduate students of musical educational institutions). This discourse is realized in the following texts: 1) biographies of
composers and musicians; 2) descriptions of musical works, musical instruments, musical art in the diachronic aspect, movements and trends in it, national music schools, etc., music terminology, lexical units belonging to the semantic field of music, verbal musical notes hold a special place in it is. Working with musical and poetic discourse, foreign students begin to understand the content of educational and artistic texts, they want to convey their content and discuss it, they begin to realize the features of expressing emotions and feelings and many characteristic features of Russian culture; the process of their communication with the teacher becomes natural, they feel the beauty of the Russian language, can appreciate its aesthetic aspect, etc.
Thus, the musical and poetic discourse in the Russian and Belarusian poetry of the 19th-20th centuries is an expression of the inner unity of music and poetry in poetic works connected with the theme of music, and in poetic compositions set to music. In the former case, the discourse is implemented by means of poetic phonetics (assonance, alliteration, sound recording, and onomatopoeia), musical terms and words from the semantic field of music, etc. In the latter case -due to the possibilities of poetic, musical art, as well as masterly performance.
The musical and poetic discourse is closely related to other types of discourse; it encourages the recipient to the creative perception of masterpieces of art, as well as to co-creation, to the discovery of subtle nuances, new semantic nuances in the content of the work, and consequently, to the maximum fullness of the perception of the artistic whole, to the understanding of eternity and the inexhaustibility of universal human values.
References
1. Александрова, Н.В. Ассоциативность художественного мышления: учеб. пособие / Н.В. Александрова. - Минск: РИВШ БГУ, 2004. - 202 с.
2. Арутюнова, Н.Д. Дискурс / Н.Д. Арутюнова // Лингвистический энциклопедический словарь / гл. ред. В.Н. Ярцева. - М.: Сов. энциклопедия, 1990. - С. 136-137.
3. День песни. Песни для голоса (хора) с фортепиано (гитарой) [Ноты] / сост. В.Я. Лазарев. - М.: Сов. композитор, 1988. - Вып. 6. - 80 с.
4. Касумова, М.Ю. Дискурс как объект междисциплинарного исследования / М.Ю. Касумова // Язык. Текст. Дискурс: науч. альманах Ставроп. отделения РАЛК / Рос. ассоц. лингвистов-когнитологов, Ставроп. отд-ние, Ставроп. гос. пед. ин-т; под ред. Г.Н. Манаенко. - Ставрополь: Изд-во СГПИ, 2009. - Вып. 7. - С. 81-86.
5. Мелодыя натхнення - A melody of inspiration / склад. Т.А. Сiнькевiч. - Мшск: Беларус. Энцыкл. iмя П. Броую, 2012. - 247 с.
6. Полякова, Л.С. Теоретические подходы к определению понятия «дискурс» / Л.С. Полякова // Язык. Текст. Дискурс: науч. альманах Ставроп. отделения РАЛК / Рос. ассоц. лингвистов-когнитологов, Ставроп. отд-ние, Ставроп. гос. пед. ин-т; под ред. Г.Н. Манаенко. - Ставрополь: Изд-во СГПИ, 2009. - Вып. 7. - С. 87-91.
7. Приходько, А.Н. Таксономические параметры дискурса / А.Н. Приходько // Язык. Текст. Дискурс: науч. альманах Ставроп. отд-ния РАЛК / Рос. ассоц. лингвистов-когнитологов, Ставроп. отд-ние, Ставроп. гос. пед. ин-т; под ред. Г.Н. Манаенко. -Ставрополь: Изд-во СГПИ, 2009. - Вып. 7. - С. 22-30.
