"Чужий" текст як ім’я у творчості Онуте Нарбутайте
The "else’s" text as a name in the works by Onute Narbutaite

Author(s): Oksana Garmel
Subject(s): Theatre, Dance, Performing Arts, Music, Aesthetics, Recent History (1900 till today)
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: "else's" text; name; neo-mythological thinking intentions; Narbutaite;

Summary/Abstract: Presented ideas are based on the integration of neo-mythological and xenological tendencies in modern culture. The "else’s" text as a name in modern music is interpreted in mythological (neo-mythological) context. This article are focused on the play "Winterserenade" (1997) for flute, violin and viola by modern Lithuanian composer Onute Narbutaite. The opus was considered in the context of neo-mythological tendency as an axample of music work, which was based on use of "else’s" text (by F. Schubert) as a mythologized name. Was performed analisys of specific composition’s features and dramatic art of play. One of the major gnosiological categories today is a dialogue, which immanently includes an intention to the "else’s mind" and "else’s word" in the process of cognition. On the other hand, the most important aspect of cultural mentality of the twentieth and twenty-first centuries are neo-mythological thinking intentions (by definition V. Rudnev [10, 184]). As a consequence, modern researchers consider mythologeme as version of "else’s" text (as version of citation). In this article proposed opinion in the opposite direction – to interpret "else’s" text as mythologeme. A proper name is mythological in its essence. It has sense (internal form, etymology), but has no value because it does not refer to a class of objects. So the logic of name is the logic of mythological thinking, since the name "<…> is building around the world with mythopoetical laws dominated the association and the identity of all with all" [9, 206]. V. Medushevsky known modern researcher says that "<…> the name contains a vast semantic field that <…> invisibly control the direction of thought" [6, 18]. Thus, through citation artistic thinking can go to neo-mythological intentions, memory of culture, spiritual and aesthetic basics. In a musical composition can be built line associations and identities: citation – name of the composer – a symbol; sound quality and structure of citation – a symbol (a sign) of the composer in the history of music. The instrumental chamber play "Winterserenade" by modern Lithuanian composer Onute Narbutaite is an example of a composition in which the author applied to the song by F. Schubert, identified the musical citations and allusions to his name and created a musical portrait of the composer of the 19th century through the techniques of composition late 20th century. O. Narbutaitė composed "Winterserenade" when her personal style has been formed. The major part of the composer’s works has been instrumental chamber music with a clear trace of the autor’s individuality. In her creation, the composer manages to perfectly combine constructive thinking with a suggestive, emotional manner of speaking. The majority of the works by O. Narbutaite can be characterized by the words of the Latvian composer Imants Zemzaris: "Finished work with the charm of a sketch" [14]. The Polish musicologist Danuta Mirka has aptly noted that the composer's music is "radiating with subtle lyricism and testifying to an extraordinary sensitivity of the author, as well as to the discipline directing the repetitive-permutational flow of masterful sound constructions" [14]. The composer gets in contact with a cultural context of various epochs in her own way. "Winterserenade" is a tiny Hommage a Schubert. The piece is woven from the motives of "Gute Nacht", the first song in the cycle "Winterreise". However, as noted by the composer, "the rhythmic sing from other works by the same composer can be easily recognized, including, I hope, Schubert’s anxiety freezing on a winter road" [15]. Scheme of musical structure of "Winterserenade" is А В А´ В´ А´´. Sections А, А´, А´´ used fragments of the song's melody of "Gute Nacht"; in sections В, В´ used rhythmic pulsation of ballad "Erlkönig" by F. Schubert. In "Winterserenade" O. Narbutaite balances between own and other language. In the presentation of the musical material in the sections А, А´, А´´ the composer uses the technique of aleatorics. Score consists of intonations of Schubert’s songs, but they are difficult to detect, as they sound in reverse motion. O. Narbutaitė further changes intonation and they become as they were created by F. Schubert. First used motifs from the cadence of the song, then used motifs from the first part of the couplet, at culmination the first sentence of the song sounds. Thus "Winterserenade" consistently implementing the principle of reverse movement. This compositional logic demonstrates the process memories of familiar music and symbolizes immersion in depth of history. "Winterserenade" O. Narbutaite is a neo-mythological journey into the romantic aesthetics through "else's" text as a name.

  • Issue Year: 2014
  • Issue No: 1
  • Page Range: 99-104
  • Page Count: 6
  • Language: Ukrainian