DOI: 10.7256/2453-613X.2022.1.37538

Abstract: The author of the article attempts to take an innovative look at the problem of the interaction of poetry and music in a synthetic whole: choral composition a cappella. The object of the study is the historiosophical poetry of F.I. Tyutchev: the poetic text of the poem "Alps", embodied in choral compositions a cappella. The subject of the study is the peculiarities of the interaction of poetic and musical texts in the creation of a figurative system of a cappella choirs created by composers of the XIX – XXI century on the historiosophical poem by F.Tyutchev. The purpose of the study is to study the ways of analyzing the logos and melos of texts, to identify the specifics of their interaction in choral compositions a cappella on the poem "The Alps" by F.Tyutchev. The article considers in this way the question of interpretation of the historiosophical poetry of F.I. Tyutchev (on the example of the poem "Alps") in choral compositions created by composers of different schools: P.G. Chesnokov, S.I. Taneev, M.V. Koval.      The path of analytical thought is shown: from penetration into the poetic primary source, which is only at first glance a landscape lyric, but representing a separate layer of the poet's historiosophical poems; to the nature of the interaction of logos and melos in choral compositions a cappella by composers of different schools at the level of perception by the composer of figurative matter, at the level of perception of metrics and rhythmics of verse, at the level of transformation of figurative matter (theme, idea), at the highest level (meditative thought). The analysis of the interaction of musical and poetic texts allows the conductor to take into account the peculiarities of the composer's reading of the poem when interpreting choral works. To date, such a way of analyzing choral compositions has not been used

DOI: 10.7256/2453-613X.2019.3.40299

Abstract: The research subject is the problem of interpretation of a poetic primary source in choral compositions a capella created by composers in different historic periods. The analysis of interaction between poetic and music texts allows a composer to take into account the peculiarities of the composer’s rendition of a poem when interpreting choral compositions. In this context, the problem of choosing the very methodology of analysis of a choral composition as a stylistic harmony (in the unity of melos and logos) becomes topical. Besides giving the analytical review of the current approaches to this issue, the author considers step-by-step two general lines which serve as the fundamentals for the analysis of the interacting semantic systems in a choral composition. The first methodological approach is the so-called rational-logical analysis of the stylistic harmony giving more attention to the “physics” of the text. The second one can be conditionally designated as a “metaphysical” approach focusing on the highest spiritual beginnings in the content of the piece of art. The author raises a question about search for the most effective methodology able not only not to blot out music and poetry, but also by uniting the methods of positivists and representatives of spiritual analysis, to elaborate on celestial logos fundamentals of the beauty of a choral composition promoting spiritual awakening and transformation of an inspired researcher, reader and performer.