ПОСТРОЕНИЕ АВТОРСКОЙ СЕМАНТИЧЕСКОЙ КАНВЫ В СТРУКТУРНОЙ МОДЕЛИ ХОРОВОГО ПРОИЗВЕДЕНИЯ (НА ПРИМЕРЕ ХОРОВОГО ТВОРЧЕСТВА В. МАРТЫНЮК)
The structure of author’s semantic groundwork in the structural model of a choral work (through the example of choral creation of V.Martynyuk)

Summary/Abstract: The aim of the article. This research is connected with the analysis of choral heritage of Dnipropetrovsk composer Valentina Martynyuk and comprehension of creative method of forming of semantic groundwork in author’s choral compositions and structure of model composition by means of choral artistic expressiveness. Methodology of research is based in application gnosiological, comparative, historical and cultural methods, method of integral analysis choral composition. This methodological approach allows to reveal deep principles of conception and realization of an artistic idea. The scientific paradigm of the research orients on wide spectrum of art-historical and cultural context. The scientific innovation of the research is based on the expansion of the view on eminently properties of the nature of composer’s creation and formation of semantic complexes for embodiment of an art idea. The article observes the embodiment of image-symbols in the image-semantic groundwork of choral composition, influence of semantic sign symbols on choice of means of musical and special choral expression and the dependence of forming elements and forms of choral composition as a whole from the, the origin of model of dualistic submission in creative consciousness: on the one side-art idea, on the another side- peculiarities of sign symbols of the author’s musical speech within the choral idea-symbol embodiment. Conclusions. The composer V. Martynyuk builds her own variant of embodiment literary poetic texts on the level of global rethinking of an aesthetical idea in choral musical composition. The basic sign symbols in composer’s work are mythological symbols of Motherland, Nature, Mother, and Ukraine. In the light of choral means these symbols are apprehended as the author’s personal pantheistic idea. Investigating the semantic groundwork of V. Martynyuk’s choral compositions we observe how elements of author’s musical speech interact with outside text line of sign symbols, building a new aesthetical reality. Pantheism of symbols is characteristic trait of the author’s creative style. Revealing of the genre basis of her choral compositions is conditioned by the invariable deep presence of authentic kernel. By studying the folk sources the author reaches the truth in creation of sign symbols of Mother, Motherland, Nature and Ukraine. Dnipropetrovsk composer V. Marttynyuk finds in choral music her personal transformation of elements of national Ukrainian musical culture.

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