КОМУНІКАТИВНА СЕМАНТИКА В ЕСТРАДНО-ДЖАЗОВОМУ КОНТИНУУМІ ЛЬВОВА: «ПІККАРДІЙСЬКА ТЕРЦІЯ» ТА «ОРФЕЙ»
COMMUNICATIVE SEMANTICS IN LVIV POP-JAZZ CONTINUUM: «PICARDIAN THIRD» AND «ORPHEUS»

Summary/Abstract: The purpose of the work is to identify the specifics of the communicative semantics in the Lviv pop-jazz continuum on the example of the vocal octets «Picardian Third» and «Orpheus». The research methodology is based on the use of cultural and analytical methods, on the basis of the theoretical understanding of the communicative semantics concept and the extrapolation of the specified phenomenon to understanding the analysis of the specified creative collectives’ activities. The scientific novelty of the research: the article proposes a definition of the communicative semantics concept, which is interpreted as a set of meanings produced by one or another artistic centre in its multiple creative acts; the essence of the indicated semantics in the Lviv pop-jazz continuum is determined using the example of the octets «Picardian third» and «Orpheus». Conclusions. The specificity of the communicative semantics of creative collectives, whose activities are analysed in the article, demonstrates stylistic multiculturalism, while its nature is different in the two indicated octets. The semantics of the vocal formation «Picardian Third» from the point of view of pop-jazz communication is defined as a syncretism of national (folk, spiritual, and pop) and international jazz messages, when the essentially national repertoire is presented in jazz design. Instead, in the work of the «Orpheus» octet, we observe greater differentiation of the indicated messages; the communicative semantics of the collective is created in the process of simultaneous combination of various styles and approaches. At the same time, we can state that the activities of both octets harmoniously combine the tendencies of acculturation and inculturation, and this is a guarantee of the further harmonious development of multiple cultural processes associated with the specified collectives in the Lviv continuum and the European space, and also determines the prospects of future research into Lviv pop and jazz sphere.

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