Semantic and pragmatics of Ukrainian musical folklore: ethno-cultural context

Abstract

The article reveals the relevance of the discourse on the semantics and pragmatics of musicalfolklore in the ethnic-cultural context, which is determined by the real needs of society in the humanization of the socio-cultural space, which is impossible without the formation of a new style of thinking, worldview and actually spiritual activity. It has been proven that this is facilitated by musical folklore, with the help of which a person's ideas about the world, the surrounding reality, the system of image perception, language, beliefs, knowledge and skills, traditions, customs, forms of work and social life were formed. In this article, the author expresses the opinion that the loss of meaningful forms and dominant values of musical folklore causes the disintegration of the spiritual and moral principles and norms of behavior accepted in the ethnic tradition, ethno-cultural synchronic and diachronic connections, weakening of the sense of national dignity, national self-awareness, and cultural identity, which today turns out to be one of the most important problems in public perception.

This circumstance actualizes the need to overcome the inertia of scientific research in the field ofspiritual culture, including musical folklore, folk creativity, w hich prompts us to study them not as a compilation of frozen artistic forms of folk music, but as an anthropological, social, cultural phenomenon endowed with infinite creative potential. which, as before, plays a key, unifying role, promoting rapprochement, mutual understanding between people, establishing the principles of agreement and tolerance in society, being the connecting link of the spiritual and practical experience of generations, the basis of the formation of the spiritual and moral personality of the new era. This will undoubtedly contribute to the awareness of one 's ethno-cultural and mentalfoundations, the understanding of the volitional, moral, aesthetic and intellectual abilities of a person, the knowledge of his essence, the explanation of the dialectic of the relationship "Man - the world” through the prism of the ethnic-cultural context of the musical system.

Key words: musical folklore, ethnic-cultural space, semantics of musical language elements.

Анотація

Семантика та прагматика українського музичного фольклору: етнокультурний контекст

Ченьсі Ван аспірант, Ізмаїльський державний гуманітарний університет

Автор у даній статті висловлює думку про те, що втрата смислових форм та ціннісних домінант музичного фольклору спричиняє розпад прийнятих в етнічній традиції духовно-моральних засад і норм поведінки, етнокультурних синхронних та діахронічних зв'язків, ослаблення почуття національної гідності, національної самосвідомості, культурної ідентичності, що сьогодні виявляється однією з найважливіших проблем у суспільному світосприйнятті. Ця обставина актуалізує необхідність подолання інерційності наукових досліджень у сфері духовної культури, у тому числі - музичного фольклору, народної творчості, що спонукає вивчати їх не як зведення застиглих художніх форм народної музики, а як антропологічний, соціальний, культурний феномен, наділений нескінченним креативним потенціалом, який, як і раніше, грає ключову, об'єднуючу роль, сприяючи зближенню, взаєморозумінню між людьми, утвердженню принципів згоди та толерантності у суспільстві, будучи сполучною ланкою духовного та практичного досвіду поколінь, основою формування духовно-моральної особистості нової епохи. Це, безсумнівно, сприятиме усвідомленню своїх етнокультурних, ментальних основ, осягнення вольових, моральних, естетичних та інтелектуальних здібностей людини, пізнання її сутності, пояснення діалектики відносин «Людина - світ» крізь призму етнічно-культурного контексту музичної системи.

Ключові слова: музичний фольклор, етнічно-культурний простір, семантика елементів музичної мови.

Actuality

Musical folklore is a cultural paradigm in which social and individual, spiritual and material, theoretical and practical are intertwined. At the same time, the phenomenon of musical folklore appears as a phenomenon of a deep layer of cultural genesis. The interpretation of the phenomenon of "musical folklore" is based not only on the philosophical and cultural understanding, but also on the concepts of musical culture that were developed in different periods of its formation. Musical folklore is an element of a certain musical culture. It can go beyond the boundaries of this culture under the influence of various sociocultural processes. This explains such qualities of musical folklore as heterogeneity, breadth, comprehensiveness, etc. It is they who serve as a connecting link between various elements of musical folklore and the stages of its historical and cultural development.

The ethno-cultural semantic and pragmatic context of Ukrainian folklore has not been studied deeply enough. Undoubtedly, the research field of musical folklore becomes especially attractive in the synthesis of folkloristic approaches with the methodology of related disciplines. From this point of view, the use of historical-semiotic methods in combination with structural-folkloristic methods allows to consider musical folklore as sound "crystallized deposits" (Dukhnovych, 2010). Hence, folk songs are "symbols of various life phenomena and feelings" and, at the same time, are facts of human consciousness, imagination and feelings. They are important in the unity of the understanding of folklore material in the diversity of symbolic, semantic and pragmatic levels. At the same time, they can be considered as a means of adapting human groups to the environment.

From these positions, the problem of the phenomenon of musical folklore is promising and has significant heuristic potential, because its meaningful space is initially related to socialization processes. A person enters the culture of society from the moment of assimilation of accepted values and norms. The individual receives some kind of "program" of life activities, which contains in a concentrated form all the previous historical behavioral experience. As L. Gumilyov rightly pointed out, even "a change in calculation can lead to changes in ethnopsychology" - this is a truly profound prediction of the scientist (Rusova, 1997). In order to have an idea of the origins of the people's culture, to enrich one's ideas about the environment surrounding a person, to learn more about the mythology and traditions existing in a specific region of Ukraine, as well as the original sources of a number of later works of art, it is necessary to study folk art. Folklore can become the basis for creativity, its semantics and pragmatics will teach to find new interpretations of classical plots and images.

Analysis of the latest research

The study of the scientific fund shows that the educational resource of musical folklore, its influence on the spiritual development of the personality of their time was noted and used by famous Ukrainian classical composers - M. Leontovych, M. Lysenko, K. Stetsenko, Ya. Stepovy, L. Revutskyi. Today, the general problems of semantics and pragmatics of ethnic and cultural forms of Ukrainian folklore are defined in a number of fundamental studies, in particular in the works of the field of upbringing in a traditional Ukrainian family by such authors as A. Danyk, O. Vyshnevskyi, V. Postoviy; in the works of outstanding specialists dedicated to the definition of the artistic and educational potential of Ukrainian folklore in the educational process, in particular O. Kuzyk, T. Matseikiv, K. Zhurba, G. Maiboroda, Z. Nigmatov, M. Stelmakhovich, T. Gontar, A. Ivanytskyi, E. Syavavko, S. Pavlyuk, Yu. Rudenko, elucidation of the paradigm of ethnic and cultural forms of Ukrainian folklore in the scientific works of such authors as I. Barvynok, L. Boyko, T. Alekseenko, S. Anisimov, O. Hovel, L. Myronov.

Goal. Semantic analysis, being one of the culminations of art analysis in general, is becoming popular nowadays in many humanities. On the approaches to the deployment of semantic searches and folkloristics. The problem of musical semantics is one of the most difficult and unexplained. Moreover, it is debatable at its very core: not everyone considers it possible to even pose this problem, denying music, in particular folklore, a certain content or understanding the analysis of the semantics of a folk song only as the analysis of its poetic text, its verbally expressed content.

The most diverse ways lead to the study of the semantics of folklore music as its result, and at the same time, all research ways, however, proceed from the semantics of musical structures as their general aesthetic premise. There is no contradiction in the fact that semantics is both the result and the cause of research. The content of folk music can be revealed in different ways, and at the same time, it is the content of folk art that predicts and determines the development of appropriate analytical methods.

Presentation of the main material

Musical culture, song folklore, semantics and pragmatics of the text within a traditional song, in many ways contributed to the formation of the ethno -cultural bases that existed within the people, their traditionalism, strength of thought and character.

At the end of the 20th century, the term "folklore" ceased to be understood exclusively as the art of words: oral-poetic texts or only folk traditions dressed up in verbal forms. The framework of folklore is expanding. It is already considered as a complex scientific discipline, the subject of which is the entire set of phenomena of the traditional culture of the people in their unity and interdependence (Stelmahovich, 2012). Moreover, the concept of "post-folklore" appeared, which includes complex semiotic ensembles of phenomena of the so-called third culture, distanced "both from elitist, officially sanctioned culture and from patriarchal rural ("traditional-folklore")" (Stelmahovich, 2012). Originating in the city and then spreading far beyond its borders, post-folklore, according to S. Neklyudov, is ideologically marginal like mass culture, "polycentric and fragmented according to the social, professional, clan, even age stratification of society", many of its genres show a high social transmission (Osypets, 1997).

The pedagogical nature of the research makes it necessary to outline some features of folklore as a cultural phenomenon, as a heritage of the traditional mythopoetic era, which preserves fragments of the secret knowledge of our ancestors. V. Propp on the example of a magical fairy tale and his followers on the material of other folklore forms showed that "surviving settings" live in folklore condensed in the form of signs (plots, motifs, tropes) (Ivanitskyi, 2004). That aspect of the theory of signs related to their use is called pragmatics in semiotics. The founder of this research tradition, Ch. Peirce, drew attention to the fact that there are two different practices: the practice of a person who thinks about the world - the practice of knowledge and the practice of a person who lives and acts in the world. The latter, according to Peirce, is determined by beliefs that show the habit of acting in a certain way. "The activity of thought is generated by doubt and stops when belief is achieved" (Ivanitsky, 2004).

The modern understanding of how a person develops a worldview, a "picture of the world" and how knowledge, clothed in a speech formula that has become a "belief", acquires the status of action, deed, behavior that turns into a way of life, was achieved thanks to fundamental research by scientists in various fields . Physiologists I. Pavlov and A. Ukhtomskyi, psychologist and pedagogue L. Vygotskyi, linguists E. Sepir and R. Yakobson, philologist M. Bakhtin, culturologist Y. Lotman and many others made an invaluable contribution to the development of these problems (Frolova, 1997). Thus, the specificity of folklore is revealed in the interdisciplinary space of semiotics, linguistics, folkloristics, cultural studies, and sociology. The true essence of folklore is manifested in the process of communication, it is he re that its existence is carried out and its expediency is revealed.

Semantics (from the Greek. лрофрд "denotes") is a branch of linguistics that studies the semantic meaning of language units. Semantic analysis is used as a study tool. At the end of the 19th and the beginning of the 20th centuries, semantics was also often called semasiology (from the Greek. navxpg "sign; indication"). Scientists who deal with semantics are still called semasiologists. Also, "semantics" can refer to the range of meanings of a certain class of language units (for example, "semantics of verbs of motion").

Semantic problems were posed and discussed by philosophical thought already in ancient times. Such disputes about the origin of the meanings of words and their relation to being and thinking, which were conducted by analogists and anomalists in ancient times and by nominalists, realists, conceptualists in the Middle Ages; such a teaching about suppositions, that is, about changes in the meaning of a word depending on the context and specific situation, which is developed by medieval scholasticism; such problems of the adequacy of linguistic expression of thinking and the origin of contradictions between them, problems of the development of thinking and language put forward by the philosophy of the XVII-XVIII centuries. But all these problems were discussed outside the context of the development of linguistic disciplines, such as grammar.

In terms of linguistics itself, until the 19th century inclusive, only one discipline - etymology - touched on the problems of semantics, since, clarifying the formation of some words from others, it was forced to both register and explain changes in the meanings of words.Only in the second half of the 19th century, in connection with the increased interest in both the sound and the "psychological" side of language, the question of the need to separate semantics as a doctrine of changes in meaning, initially only of words, arose. The very term "semantics" was introduced by the French linguist Breal (Doronyuk, 2009). The French linguist and musicologist N. Rouve, who widely raised questions about the relationship between musicology and linguistics in various aspects, avoided, however, any detailed discussion of the problem of musical semantics. "This issue is extremely difficult, and even linguists are very careful about the problems of semantics, so there is no reason for musicology to approach them less carefully" (Frolova, 1997).

Musicology has more or less succeeded in defining the formal aspects of folk music. But it is paradoxical that in studying the meaning of folk music, its content, in learning about "what has been done", we are still sometimes wandering in the dark. Neither Ukrainian nor foreign folkloristics has works specifically devoted to the theoretical study of musical semantics.

In the context of research aimed at explaining the content of sociocultural processes, it is possible to briefly summarize the conclusion about the necessity and significance of those aspects of social consciousness that give life meaning to concepts that have been removed in many spheres of knowledge. At the same time, the lack of such an approach is expressed by the inertness of knowledge in relation to social semantic information, therefore, it is indicated by their semantic continuity. This breaks the harmonious sequence in it in the obvious unacceptability of this phenomenon. The present is fully related to the field of musical folklore, the actualized level of which is insufficient for its understanding, although it contains a real socio-ontological potential that is waiting for its interpretation.

The view of Ukrainian folklore as a peculiar language that uses linguistic terminology in names of the melodic type ("narrative"), in some genres ("callings"), in the presentation of various musical traditions in "musical dialects" does not reveal the integrity of its semantics, which is broader than speech Therefore, highlighting the conditioning of semantics by the "super-dialectal regularities" of musical folklore (Syvachuk, 2006), in the richness of its ethnic and cultural contexts, should be considered a priority in this matter. Such wide universality is communicated to him by the non-dismemberment with the practical- spiritual side of society's vital activity, connected with socio-semantic information.

One of the initial methodological prerequisites is the concept of the level of semantics. This concept refers to semantics as an object of research and as an analytical tool. Specific analysis always proceeds along certain levels, moving from one to another. We analyze the composition of the melody, its relatively independent segments, its in general, the song as a musical-poetic unity, etc. Moreover, the levels of semantics differ both quantitatively and qualitatively. All of them are organically (and, of course, not mechanically) interconnected, as and how the levels of analysis should be interconnected: limiting ourselves to some one level, we lose the phenomenon in its real vital integrity. Nevertheles s, if we do not define and theoretically isolate the simplest level of musical semantics, so to speak, a semantic unit, it will be difficult for us to comprehend all other, more complex levels. The study of a semantic unit cannot replace the study of the semantics of the whole, and the whole can be reconstructed from this unit. However, methodologically, the approach to the unit and the whole should be fundamentally related. For us, this approach consists in recognizing the artistic expressiveness, artistic consciousness of a piece of folk music at all possible levels of semasiological analysis - from the elementary to the most complex.

The latter claim requires extensive evidence, or, in this case, raises a number of questions. First of all, can a separate expressive means of a melody (for example, pitch contour, rhythmic pattern, etc.) represent (represent) its real semantics, or, in other words, do individual elements of the musical language have more or less stable semantic significance? There are different answers to this question.Thus, Alain Danielou considers it possible to semantically classify intervals according to their specified acoustic characteristics. Hence his metaphysically invariable "fun", "sad", "courageous" and even "selfish" intervals. M. Ya. Berehivskyi deeply understood the metaphysics of such a "semantic" analysis of individual elements of music (intervals, rhythm, etc.). In his 1946 article, "The Modified Doric Scale in Jewish Musical Folklore (to the Question of the Semantic Properties of the Scale)," he wrote: "None of the elements of musical language, taken in isolation, has a specific expressiveness once and for all associated with that element." (Dukhnovich, 2010).

Pragmatics as a specific field of semiotics began to be mastered by folkloristics relatively recently, which is confirmed by few but well-known works.

The subject of pragmatics in folklore is a folklore text in a "pragmatic" situation, that is, in the conditions of its "live" functioning, "live" connection between the performer and the listener. With a certain amount of conventionality, the pragmatics of folklore can be labeled as "text in living language", "text in discourse". In this case, terminological accuracy is important not so much as substantive accuracy. Let's try to understand it by comparing two types of verbal text: literary and folklore.

A folklore text is a specific phenomenon, different from a literary text. The specific nature of the folklore text, the principles of its generation, the peculiarities of life and its preservation in the memory of the people. Even the "word", which is considered to be the unifying beginning of folklore and literary texts, as a result turns out to be "one" in literature and "another" in folklore. Hence, the pragmatics of a folklore text, that is, its transmission and perception, also differs from literary pragmatics.

The pragmatics of any text is based on the communicative process, the process of communication between the source of information and its consumer, between the writer and the reader in literature, the performer and the listener in folklore. From the point of view of information theory, the communication process itself includes several mandatory procedures: information transmission, its perception and preservation. These well-known positions appear to be applicable with special caveats in relation to the folklore text. The first thing that, as they say, lies on the surface is the type of communication.^ folklore, the communication process is carried out "live", as a result of direct contact between the performer (informant) and the listener, what, according to tradition, is called "face to face" in Western folkloristics, and "from mouth to mouth" in domestic science. This type of communication is based on the main difference between a folklore text and a literary one, which consists in the oral form of existence of a folklore text and the written form of existence of a literary text. This difference radically changes the further components of the pragmatics of the text in folklore and literature. In other words, the "word" in literature and folklore begins to take different paths to the consciousness of the reader and listener. The end result of this "path" is also different.

Yes, a literary text, which in a materialized and finished form (book, printed text, computer version, etc.) is transmitted to the reader only under the condition of initiative on the part of the reader himself. Therefore, the pragmatics of the literary text is completely determined by the reader's activity. A literary text, read, already exists in the reader's mind. The reader's perception of it cannot be carried out by the text itself. It is canonical (immutable), stable. The research practice of literary critics, interpretations of the literary text can only affect the consciousness, aesthetic views and preferences of the reader. However, the text itself will not change from this: it exists in its original form regardless of the number and quality of its reading. An exception is editorial notes, corrections of an already published text, the validity of which is the field of research of literary textologists.

In other words, a literary text exists as a spatially and graphically organized structure, and the process of reading a literary text is its consistent and integral perception. Of course, it is possible to return to what has been read, to read a literary text "from the end", from any or a favorite page - all this is considered as moments of text perception caused by various reasons: research goals, aesthetic preferences, the mood of the reader (Rusova, 1997).

In contrast to the literary, the pragmatics of the folklore text is similar to the language process - it is primarily a one-time, momentary act. The text itself does not exist in material form (not to be confused with written forms of folklore: albums, questionnaires, letters, inscriptions, graffiti, etc., which exist according to the laws of oral genres). It exists only at the moment of its transmission, until that moment the folklore text is preserved in the memory and consciousness of the performer. Of course, the listener (in particular, the collector of folklore) can make corrections in the process of performing a folklore text: ask to repeat part or all of the text, but it will be a different text - the word, intonation, gesture, reaction of the performer or listeners, the surrounding environment will change (someone entered , shouted, corrected, the phone rang, a car drove by).

No matter how much we resist, we have to agree that even the most accurate recording of a folklore text, made according to all the rules of science, is not its written, audio or video reproduction. The folklore text exists only now, only at the moment of performance, everything else is more or less perfect records, fixations of one of the text variants that listeners and researchers deal with. With this thesis, we are not inclined to question the scientificity of numerous folklore records. However, such is the specificity of folklore, in which the concepts of accuracy and reliability of records are initially relative.

The mechanism of pragmatics of folklore text is also specific. In general terms, it, like any information process, goes through the following stages if necessary: encoding of information - its transmission - and decoding. In literature, this process can be conditionally denoted by the following components of the process: author's creativity, reading, understanding. Each of these components is practically autonomous: the work of a particular author, which results in a literary text, does not depend on reading, which does not affect the text, and understanding the text does not necessarily follow reading. Therefore, one can endlessly think about co-creation, empathy of the reader of the work, the reader-author, the reader-addressee, the reader entering into a dialogue with the author, etc. - all this changes the essence of the mechanism of pragmatics in literature. The literary text and its perception by the reader is a one-act process in which the informativeness of the text and the reader's text depend on each other and cannot influence the subsequent processes of reading the literary text.

In folklore, the process of encoding and decoding the text is as close as possible to language activity. In this, the significant achievements of communicative linguistics allow to extrapolate the components of the speech act as an oral folklore text. For example, N.F. Alefirenko, having considered the communicative nature of language activity, comes to the following conclusion: "Therefore, to perform a speech act means: to pronounce articulatory sounds; construct expressions from the words of this language according to the rules of its grammar; correlate it with reality by making a speech (locution); to give speech purposefulness (illocution) in accordance with the communicative intention of the speaker; to cause those who listen to certain consequences (perlocution)" (Stelmahovich, 2012).

However, in this chain of the speech act, its "thought link" is important: the word (spe ech signal) is spoken and heard, but how and why this particular word is spoken, how and why it is understood - these are questions that are difficult, and often impossible to answer answer, but to which the modern integrative science - psycholinguistics - is still trying to answer.

The psycholinguistic study of language activity, which in many respects goes back to the study of genres of oral creativity conducted in the 19th century by O. Veselovskyi and A. Potebnei, allows to build a mechanism of pragmatics of folklore text (Stelmahovich, 2012). As we noted above, speech text and folklore text, possessing a single oral nature, are genetically and functionally heterogeneous phenomena. Hence, the mechanism of their transmission will be different.

A folklore text is a traditional text, therefore it arises and functions only thanks to, on the basis of and in accordance with the folklore tradition, a phenomenon that is complex and multifaceted in itself. In the most general sense of the word, folklore tradition is a process of transmission, continuity of creative experience, collective memory of the people, their poetic knowledge and a fund of artistic means, which are realized under certain conditions in various texts of oral creativity. Therefore, the performer of the folklore text is free to choose the methods of its transmission.

In other words, if the performer is unable to reproduce the text he once heard, then he has a tradition. If the listener does not understand the text he heard, then he is also outside the tradition of the genre. In this regard, we will ask: why do we often not understand foreign humor or the meaning of other people's jokes? For example, the saying "rain pours like a bucket" is common and understandable to a Ukrainian-speaking listener, but rather strangely in English: "it rains cats and dogs."To answer this question, it is necessary to learn the traditions of English folklore.

So, the pragmatics of the folklore text is an indicator of its special dual nature, determined, on the one hand, by the traditionality of folklore, and on the other hand, by the natural form of its existence in the performing environment.

Speaking about "synthetic images-intonations", concentratedly expressed in folk-song intonation complexes, Ewald essentially meant nothing else but semantic units of folklore, although she did not use this term. Based on Asafiev's understanding of musical intonation as the "comprehension of socially conditioned sounds", Ewald argued: "From this point of view, regarding the study of a phenomenon in music, as an expression in a specific (sound) form of a certain content, the simplest elements of music will appear not as abstract categories (order, metro-tectonic scheme), and intonation complexes, in a certain way interpreted by this social environment" (Ivanitsky, 2004).

So, the simplest semantic element of music is a socially meaningful intonation complex. This statement by Z. U. Ewald is, without exaggeration, revolutionary for the methodology of musical folkloristics, both in the period of the 30s and in our days. With him, the wealth of a truly dialectical method, which allows you to see any phenomenon in all its real completeness and versatility, entered the theory. The semantically indivisible unit from which the semasiological analysis should proceed was not some isolated element, but the intonation complex. Ewald constantly emphasized the semantic significance of only those "images-intonations" that correspond to the social functions of folk art. Therefore, even the smallest representatives of musical semantics can only be socially significant, socially meaningful sound complexes. This position of Ewald should form the basis of the semantics of musical folklore as its defining, root, inviolable methodological prerequisite (Ivanitsky, 2004).

socio-cultural musical folklore ethnic

Conclusions

Thus, the musical specificity of folklore is revealed in the transmission of socially significant information, taking into account socio-intellectual experience, with the help of its ability to the greatest flexibility of space-time transformations and multi-layered structure compared to other arts. As a result, it is possible to transfer the dynamics of images, which helps to include with its help in various forms of artistic synthesis, connecting together different level components.

At the same time, it should be emphasized that the field of musical folklore has a wider semiotic field than music itself. Its structure is determined by a sequence of "any" signs united by a semantic link and, at the same time, structured autonomously, according to the elements of intonation, music making and dance. In musical folklore, they are "closely aligned with each other and exist in certain relationships" (Doronyuk, 2009).

According to this, musical folklore as a system that explains the attitude of a person to the world, at the same time should be understood as an ensemble of sign systems. Their combination is considered as "a set of signs of different systems acting together", where "each sign system complements the other". In their diversity, they show the dynamic aspect of semiotics, which is that no culture can be defined by one language.

A minimal system is formed by a set of two parallel signs, for example, verbal and figurative. The most noticeable and organic unity from the pre-literate era is represented by music and dance, whose temporal nature and metro-rhythmic organization "initially" established the most direct connection in them. The synthesis of the elements of this symbolic ensemble occurs due to the ability of each of them to recode spatial parameters into temporal and temporal parameters into spatial parameters (Doronyuk, 2009).

Music and dance manifest their ensemble nature in the interaction primarily at the level of concrete, music-dance, expressive means, i.e. in the intonation sphere, metro-rhythm, tempo, as well as figuratively and emotionally, in composition and drama. The methods of interaction speak of the complex nature of the relationship between their elements, where the means of expression can complement each other or complement each other, develop in parallel or in a contrasting combination and conflicting opposition. Both spheres refract reality through the disclosure of a person's feelings, his emotional state. In the presented ensemble of sign systems, preference is given to the melodic sphere, due to its flexible "inclusion" in various forms of artistic synthesis. Researchers note the great activity of auditory impressions compared to visual impressions, associating this fact with the fact that "they are psychologically connected with the idea of action" (Zavalniuk, 2000).

The semiotic side of this phenomenon is revealed in the consideration of the problems of intonation theory, in which this autonomous structure of musical folklore is shown in a variety of symbolic, semantic and pragmatic (actualized) levels. In the historical and social diversity of intonations constitute the melos of a certain ethnic group. Similar to the elaborate metaphor about folklore as "mines of historical knowledge", В. Asaf ev calls melos "sound deposits that have crystallized", symbols of various life phenomena and sensations (Ivanitsky, 2004). E. Alekseev sees it as a means of "documenting" culture (Osypets, 1999). Thus, the phenomena of social life and, at the same time, the facts of human consciousness, imagination and feelings, which are important, are recognized by melos. This approach declares the semantics of intonation as a musicological element, because as a broad area coordinating music with life.

Various elements in the structure of intonation (verbal text, melody, mode, rhythm, musical syntax) as it were condense different types of content in folklore. By this is meant: the "originality" of the sound image, the historical and geographical content (including the genetic identity) of the chants, the genetic representations of society, informationally condensed in certain tonal (intonational) constructions, the melodic kinship of certain genres of musical folklore, their connection with features of the ethnic outlook, which illustrates the semiotic structure of musical folklore in the evolution of meaning-making.

Джерела і література

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