DOI: 10.25136/2409-8698.2023.12.43496

Abstract: The main purpose of this article is to clarify some controversial questions about the genesis of the bardic songs. This cultural phenomenon is seen as a system of "author-listeners". It has already been noted that the macro-structure of the dialectical opposition "private-universal" manifests itself much more often in bardic song than in other cultural directions. The hypothesis that the bardic song originated in the scientific intelligentsia is put forward in this article. In order to confirm the hypothesis, a brief analysis of scientific texts in the context of the identification of "private-universal" structures is carried out. As a result, it is shown that the structural rhythm "private-universal" is originally characteristic of the scientific tradition. Its presence is an invariable factor across all cultures. Moreover, it is also an integral part of the style of scientific thinking. This way of thinking affects the whole social community and defines the bardic song of listeners and authors. The mechanics of the emergence of this cultural phenomenon have been the subject of research. The verification of the results was carried out by applying the scientists number dynamics in the country to the creation dynamics of the bard songs. Once linked to the structural analysis results, the identified correlation was converted into a dependency rank. Thus, the hypothesis of how the Bard's Song got started was confirmed.

DOI: 10.25136/2409-8698.2022.6.38151

Abstract: Earlier, semantic rhythms were found in several texts of the author's song of the 1950s-80s, determined by the oppositions "private-universal" and "order-chaos". In the process of analyzing these works, a method of categorical macrosemantic structures was developed. Previously, this approach was applied in a systematic study of cultural trends. As part of the current work, the songs of the famous bard Alexander Mirzayan are considered using this method. The totality of this author's creativity is analyzed. From the standpoint of semantic rhythms, a structural analysis of the song "Wanderers" based on the poems of A. Mirzayan was carried out, as well as several song adaptations based on the texts of I. Brodsky, V. Sosnora and T. Klangsor were considered. In the works under study, the general theme of the conflict of a certain alternative system with the state line is traced. Mirzayan's interest in this topic is probably connected with the social processes of the late USSR. In addition, the presence of semantic rhythms in songs based on poems by A. Mirzayan and poems by other authors is compared. As a result, it turned out that the indicators of PM-rhythmics in song adaptations exceed the indicators of these structures in A. Mirzayan's poetry. Thus, the method of categorical macro-semantic structures helped clarify the principle by which Mirzayan selects poems by other authors and what are the methods of their adaptation.

DOI: 10.25136/2409-8698.2020.12.34391

Abstract: Cultural phenomena and their correlation with social processes spark specific scientific interest. One of such cultural trends is the author song of the 1950s – 1980s, which became the subject to this research. Adequate interpretation of the content of compositions and their connection with public life requires a particular toolset, especially due to the fact that some texts contain interesting semantic structures. In reading the lyrics, the alternation of fragments with opposite meanings was revealed. Generalization of these meanings to abstract concepts demonstrates that they comprise a semantic rhythm. One of such rhythmic structures consists in rotation of the particular and the universal. This article describes and formalizes the algorithm that resembles the principle of LR (k)-analyzer of context-free grammars, which was used for the analysis of two author songs:  “Ten Stars” by A. Krupp and “Romance of the Old Age” by A. Sukhanov based on the poetry of Omar Khayyám. In the indicated compositions, the author revealed common structures in form of the particular-universal rhythm and the motive of coping, as well as certain structural peculiarities. The songs under review differ in the degree of expression of dialectical contradiction of the “particular” and the “universal”. They also vary in the forms of translation of this semantic rhythm: through non-overlapping sets, additional orthographic dimensions, or storyline expansion on space-time scale.