Spiritual symbols in the context of the musical text (the "Anthem of Ukraine" music by Verbitsky to the words of P. Chubinsky)

Размещено на http://allbest.ru

Music College Department of Zaremba

Spiritual symbols in the context of the musical text (the "Anthem of Ukraine" music by Verbitsky to the words of P. Chubinsky)

Varavkina-Tarasova Nadiya

PhD in Art Criticism, teacher at the Music Theory

Khmelnytsky

Introduction

Problem statement. The study of the Ukrainian anthem attracts the attention of many researchers both in the field of history and cultural studies, as well as in the field of musicology and linguistics. Such strong and constant attention to one of the main state symbols of the country is understandable - in most European societies, the hymn symbolizes national unity, speaking (paraphrasing Umberto Eco) as a "hypertext" connected with "hypermusic". To date, music studies of the anthem exist mainly in the form of genre and formal analysis. In our opinion, this is not enough for such an important phenomenon in contemporary Ukrainian culture.

The musical text of the national anthem gives an opportunity to analyze systemic and interdisciplinary problems that are difficult to investigate in the context of narrow professional areas.

For example, the philological, in the sections of which the actual text of the hymn is explored; or musicology, which is oriented to the musical fabric of choral singing. One of the options for such a systematic analysis is the proposed method for the spiritual analysis of a musical work in the context of a dissertation study (2014), which allows synthesizing musicological and cultural components, including in the practice of analysis the executive context of the work, his musical architecture, and the research of symbolic structures.

The present state of research of the problem remains focused on the historical and cultural direction. The history of the writing of the Аnthem of Ukraine, its performing and socio-political components have their own circle of authors. Among the most notable works, we will highlight a series of professional publications, which, at least in part, raise the problem of a symbolic essence or the text part of the hymn, or musical.

First of all, it is necessary to name the scientific works of prof. L. Kiyanovsky, who has been studying stylistic and genre features of the musical heritage of M.Verbitsky since the beginning of the 1990s [7, 8]. In the context of the significance of the text of the work, interesting conclusions have been made by the researcher-philologist S. Hirnyak (2015) [2].

In the culturological direction, certain questions of the symbolism of the anthem were raised by L. Solovey (2015) [10]. Ethnography and social pathos of P. Chubinsky's works are analyzed in the researches of prof. G. Yevseyeva (2014) [5]. All of these scientific works make up today a sufficient historiographic basis for the analysis of the most important, as it seems to us, problems of the synthetic study of the space of interpretations of the hymn. In this direction we cannot overlook the long-term methodological and theoretical searches in the context of musicology reflexology of the Kharkov research scientist prof. L. Shapovalova [11-13], who kindly agreed to speak as a scientific reviewer of the proposed article.

Presentation of the main study

The "Anthem of Ukraine" by M. Verbitsky begins with a repetition of the same sound of C major - III degree, which in energy terms is a sacred Golden ratio of the sound of the maj or, its modal sound center, that is - its "heart". With the initial repetition of the III degree, the dotted rhythm of the melody of the "Anthem", equally marquee (on one sound), serves as a symbol of creation, which penetrates into the manifested world as a holistic core. Separated by the dotted rhythm, the starting point of the tonality is a sacred symbol of the unity of time and space, it is connected with the main light of consciousness, it exists in the higher dimension, it is the source of creativity. In the microstructure of the thematic core of the Anthem's melody created by N. Verbitsky there is a point and its energetic "engine" which is the dotted rhythm, micro-element iambic foot of the Whole, - which serve as two symbolic parameters of the formed core of the "Anthem" theme. They provide a fundamental micro function of the heart level in the energetic layer of the "Anthem", the function of the Supreme prayer to the Spirit that facilitates the manifestation of spiritual consciousness in the density of the musical structure.

Groupmode chanting (Ш-П-Ш-IV degrees of the major - t. 1) - music sign of mathematical lemniscate - the symbol of eternal everlasting motion, galactic unity in Space, the connection of the teacher of the Light with his pupil, a sign of trust, balance, inner beauty and harmonious communication. Symbolic poetic origin of the term comes from the Swiss mathematician Jacob Bernoulli (1654-1705): so was called a bow, which was fixed on a wreath on the head of a winner in a competition in Ancient Greece.

Tonic pentachord (V-IV-III-II-I major - vols. 2/3) descending, filled, even-tempered, which also opens from the dotted rhythm of the theme core as the oriented graph from the vertex-source; its symbols are: a) perfection, certainty, a representativesign of spiritual origin in the manifested world, b) the symbol of the Vitruvian man (Leonardo da Vinci) - as an emblem of the proportions of the highest harmony of the Golden ratio points, inscribed in a circle of quinte purity.

Sound rocking or swinging (III-V-II-V-I in parallel minor - 3/4) is a powerful symbol of unity, spiritual healing - even imitation of such bell vibrations makes a huge impact on a man and his environment, on society, cures space, tells us about the realities of spiritual life.

The flags that flutter (V-#IV-V-III-II-II in C major - vols. 17/18) are a sign of victory, an inspiration, a symbol of dignity, solemn unions of men; in this musical context, the "Anthem of Ukraine" is a symbol accurately manifested in the Central climax (the very beginning of the chorus - T. 17), modus - intonation up rise leads to it (in t.16).

Perfect fourth (initially - II-III-IV-V in major - vols. 1/2) - intonation serves the creation of thematic core of the "Anthem of Ukraine" music, it is inlaid in its music field in upward and downward movement, filled or open, and basically sounds at the II-V levels, which are connected with the "second, highest level" of modus attractions; the intonation resonates with bells and ancient psychological feelings that represent an appeal to victorious activities.

The parallel key of a major and minor (in the author's manuscript in G- dur-e-moll). Music ofthe "Anthem of Ukraine" begins in affirmed courage of the major and finishes with a delicate, feminine softness of the parallel minor, in their convincing systematic oscillation of their correlating periodicity in melodic-syntactic structures. Here we find a unique modus system of expressive symbols of image-bearing drama of the Ukrainian folklore.

The point of the Golden ratio of the whole work falls on the word "freedom", which is repeated many times in the chorus. While in the verses of the solo parts the words change, in the chorus the first and systematic appearance of this word is shown only in the Central climax, which occurs at the beginning the chorus, that is, opens it.

The word "freedom" is used after the symbol "flags flutter". Thus, these two sacred symbols are designed to emphasize the center of the vigorous development of the spiritual content of the "Anthem." Aspiration to the most important philosophical and psychological state of being of the man-mankind - to freedom is programmed in it.

"Anthem of Ukraine". Contemporary musical printing (Tonality of B-dur-g-moll).

The first musical and poetic version of the "Anthem of Ukraine" for voice accompanied by a guitar. Maintained in the Department of Manuscripts of the Lviv National Library V. Stefanik (Tonality of G-dur-e-moll).

There is a fundamental Law of the Forces of Light: freedom of the will of a man, people and humanity is untouchable. Thanks to this Law there is Life in Space. The spiritual greatness of the Law of the act of the will to freedom lies in brotherhood, in the harmonious unity of a man and people with Life which is strongly and permanently protected by the Highest World.

Trichordal songs in quart and quint - serve to identify the ancient sources of Ukrainian culture

1) Trichord in quart - V-III-II in C major ("seeded " in the beginning of the chorus - vols. 17/18, 25/26).

2) Trichord in quinte in the parallel minor - II-V-I ("seeded" in the whole musical field ofthe "Anthem" - vols. 3/4, 7/8, 15/16, 23/24, 31/32). In addition, there is its another version in parallel minor - III-V-I (vols. 9/ 10, 13/14).

Let us take a closer look at the intonations.

LTrichordin quart is encrusted in the theme core of the chorus in the symbol ofthe "fluttering banners" (vols. 17/18, 25/26).

Trichord in quinte in the initial version of the melody for voice and guitar could be heard only in the cadence of the 1st sentence (volumes 3/ 4), where the symbol of the "bells" appears; and in choral and modern version it sounds in cadences of the 1 st, 2d, 4th sentences of the solo part and both cadences of 2 sentences in the chorus, that end the "Anthem." As if each time the symbol programs the value of what happens in the dreams of people and transfers actions into time and space. In that very version the bells stylistics acquires heroic, large-scale winning sense.

The form of the verse in its traditional understanding is a Complex, 2- part: solo part created in a Simple 2-part form of the extended type, chorus - precisely repeated period. Areas of the points ofthe Golden ratio (p.g.r.):

1) the Central part of p.g.r. pulses in the middle of V. 20 (19,64) on the word "freedom" (see paragraph 8);

2) in the 1st sentence on the word "glory" (V. 3);

3) in the 1st period on the word "brothers" (V. 5);

4) in the 1st sentence of the 2nd period on the word "dew" (V. 11);

5) in 2 period on the word "will rule" (V. 13);

6) central part of p.g.r. which pulsates as "a trace of sound memory", that is, in the echo of the sound [9; 12; 14] - also on the word "will rule" (V. 13).

In the first climax of the solo part the "gold flow of French horn" sounds on the words "like dew in the sun" (V. 11): this is it, that "raises" the 1st phase of culminating development in the "national Anthem", and it is the only solo part solemnly-inspired major phrase in the environment of the parallel minor, in which the 2d period of the solo part sounds (i.e., the second musical idea of the piece). Prior to this, in 1st period of the solo part, major and minor sounded in a paired frequency (2 times during the square of 8-times).

The "gold flow of French horn" is repeated in the 1st sentence of the chorus, it is the bearer (!) of culminating backing of the spiritual energy of the words "for our freedom" (19; see above PP. 8; 10-1). The art material in the area of the central climax of the "Anthem of Ukraine" is divided into 2 equal halves - 1 and 2 sentences (4+4), between which there is a connection of the symbols "lemniscate" and "dotted rhythm" anthem ukraine symbolism musical

The consecutiveties of symbolsof' fluttering banners", "tonic pentachord", "gold flow of French horn" actsin the 1st sentenceof the chorus.

In the 2-d sentence - the first two symbols are identical: they assert themselves once more, filling a poetic contents with new energy, and in the end of the piece (its verse) the symbol of sound rocking or swinging returns in the parallel minor, which each time with its appearance in the spiritual field of the "Anthem of Ukraine" indicates that the delineation of clear-cut symmetry in the process of the form development / unfolding and enhances the solemnity of the action of the transformed Life...

In the music architectonics of the "Anthem of Ukraine" on its highest, inspiringly spiritual levels an internal pulsation of a powerfully promoted rising spiral shape process is inherent, a process that originates from pair periodicity of mode and tonality means in a square structure of the composition, which through the 1 st climax convolution increases its energy potential, and through the central climax field suddenly gives such a powerful image-bearing supply that potential of it can lead to the transformation of emotions into feelings, thoughts into action.

When poetical and musical realia of the "Anthem of Ukraine" are sung one can feel, clearly and strongly, the fundamental symbol of strong "Hands of God", spiritually materialized by the poet, the composer - the people, the hands that firmly support people's trust and happiness.

In the melody of the "Anthem of Ukraine" M. Verbitsky used a symphony method of development in micro-structural process, whereby the through- conducting motives and sub motives with their constant renewal acquire new quality in the central climax.

Conclusions

In "The anthem of Ukraine" embodied (perhaps intuitively) the so-called the method of micro-miniature art inherent in Ukrainian folk masters, which requires a high level of creativity. In the melody of the "Hymn of Ukraine", M. Verbitsky applied the symphonic method of developing musical intonation, thanks to which her through- conduction with constant renewal acquires new quality in the central culmination of the words of the age-old oath: "Soul and body we put for our freedom".

Perspective of the further development of the topic. We emphasize that the concept of "theory of music" common to the Eastern European understanding has another definition in Western professional culture - "musical design". In this aspect, it seems probable for us to further explore the musical texture of the text, to clarify the peculiarities of constructing the morphology of the musical symbol.

Sources and literature

1. Герасимова-Персидская Н. Музыка. Время. Пространство [ред. И. Тукова] / Н.Герасимова-Персидская. - К. : ДУХ І ЛІТЕРА, 2012. - 408 с.

2. Гірняк С.П. Тексти гімнів І. Гушалевича, П. Чубинського, І. Франка як взірці соціолекту української інтелігенції другої половини ХІХ століття / Світлана Гірняк // Проблеми гуманітарних наук: Наукові записки Дрогобицького державного педагогічного університету імені Івана Франка / Ред. кол.: М.Федурко (гол. ред.), П.Мацьків та ін. - Дрогобич: Редакційно- видавничий відділ ДДПУ імені Івана Франка, 2015. - 234 с. - С. 16 - 27.

3. Гончаренко А. Пространство сердца как основа сверхсознания / А.Гончаренко // Сознание и физическая реальность. - 1997. - Т. 2. - N° 3. - С. 25-35.

4. Дашак А. Божественна природа звуку: навч. посібник /А. Дашак. - Львів : Світ, 2003. - 108 с.

Євсєєва Г. П. «Ще не вмерла України ні слава, ні воля!» (До 175-річчя з дня народження видатного українського етнографа Павла Чубинського) / Г. П. Євсєєва // Вісник Придніпровської державної академії будівництва та архітектури. - 2014. - N° 1. - С. 52-56.

5. Іванов В. Духовне буття музичного звуку / В. Іванов. - Миколаїв : ТОВ Фірма «Іліон», 2009. - 480 с.

6. Кияновська Л. Галицька музична культура ХІХ-ХХ ст.: Навчальний посібник / Л.Кияновська. - Чернівці : Книги - ХХІ, 2007. - 424 с.

7. Кияновська Л. Про Михайла Вербицького та релігійну ідею в українській професійній музиці // Михайло Вербицький і відродження української музичної культури. - Дрогобич, 1992. - C. 5-8.

8. Созанський Ю. Музична семіотика / Ю.Созанський [ред.упор. Л.Й. Назар- Шевчук]. - Львів : Сполом, 2008. - 522 с.

9. Соловей Л. Отець Михайло Вербицький - композитор, громадський діяч, автор гімну України "Ще не вмерла України і слава, і воля" / Л. Соловей // Актуальні питання гуманітарних наук. - 2015. - Вип. 14. - С. 101-110

10. Шаповалова Л. В. Рефлексивный художник. Проблемы рефлексии в музыкальном творчестве / Л. В. Шаповалова. - Харків: Скорпион, 2007. - 292 с.

11. Шаповалова Л. Духовная реальность музыкального произведения и методы её познания / Л.Шаповалова // Проблеми взаємодії мистецтвознавства, педагогіки та теорії і практики освіти. Когнітивне музикознавство : зб. наук. ст. Вип. 40. / Харк. нац. ун-т мистецтв ім. І.П. Котляревського; ред-упоряд. Л.В. Шаповалова. - Харків : Видавництво ТОВ «С.А.М.». - С. 11-32.

12. Шаповалова Л. Литургия как «архетип» творчества homo credens // Проблеми взаємодії мистецтва, педагогіки та теорії і практики освіти: зб. наук. праць. - Харків : Харк. держ. ун-т мистецтв ім.І.П.Котляревського, 2010. - Вип.28. - С. 91-110.

References

1. Gerasimova-Persidskaia N. Muzyka. Vremia. Prostranstvo [red. I. Tukova] / N.Gerasimova-Persidskaia. - K. : DUKh I LITERA, 2012. - 408 s.

2. Hirniak S.P. Teksty himniv I. Hushalevycha, P. Chubynskoho, I. Franka yak vzirtsi sotsiolektu ukrainskoi intelihentsii druhoi polovyny KhIKh stolittia / Svitlana Hirniak // Problemy humanitarnykh nauk: Naukovi zapysky Drohobytskoho derzhavnoho pedahohichnoho universytetu imeni Ivana Franka / Red. kol.: M.Fedurko (hol. red.), P.Matskiv ta in. - Drohobych: Redaktsiino- vydavnychyi viddil DDPU imeni Ivana Franka, 2015. - 234 s. - S. 16 - 27.

3. Goncharenko A. Prostranstvo serdtca kak osnova sverkhsoznaniia / A.Goncharenko // Soznanie i fizicheskaia realnost. - 1997. - T. 2. - № 3. - S. 25-35.

4. Dashak A. Bozhestvenna pryroda zvuku: navch. posibnyk /A. Dashak. - Lviv: Svit, 2003. - 108 s.

5. Yevsieieva H. P. «Shche ne vmerla Ukrainy ni slava, ni volia!» (Do 175-richchia z dnia narodzhennia vydatnoho ukrainskoho etnohrafa Pavla Chubynskoho) / H. P. Yevsieieva // Visnyk Prydniprovskoi derzhavnoi akademii budivnytstva ta arkhitektury. - 2014. - # 1. - S. 52-56. Ivanov V Dukhovne buttia muzychnoho zvuku / V. Ivanov. - Mykolaiv : TOV Firma «Ilion», 2009. - 480 s.

6. Kyianovska L. Halytska muzychna kultura KhIKh-KhKh st.: Navchalnyi posibnyk / L.Kyianovska. - Chernivtsi : Knyhy - KhKhI, 2007. - 424 s.

7. Kyianovska L. Pro Mykhaila Verbytskoho ta relihiinu ideiu v ukrainskii profesiinii muzytsi // Mykhailo Verbytskyi i vidrodzhennia ukrainskoi muzychnoi kultury. - Drohobych, 1992. - C. 5-8.

8. Sozanskyi Yu. Muzychna semiotyka / Yu.Sozanskyi [red.upor. L.Y. Nazar- Shevchuk]. - Lviv : Spolom, 2008. - 522 s.

9. Solovei L. Otets Mykhailo Verbytskyi - kompozytor, hromadskyi diiach, avtor himnu Ukrainy " Shche ne vmerla Ukrainy i slava, i volia" / L. Solovei // Aktualni pytannia humanitarnykh nauk. - 2015. - Vyp. 14. - S. 101-110

10. Shapovalova L. V Refleksivnyi khudozhnik. Problemy refleksii v muzykalnom tvorchestve / L. V. Shapovalova. - Kharkiv: Skorpion, 2007. - 292 s.

11. Shapovalova L. Dukhovnaia realnost muzykalnogo proizvedeniia i metody ee poznaniia // Problemy vzaiemodii mystetstvoznavstva, pedahohiky ta teorii i praktyky osvity. Kohnityvne muzykoznavstvo : zb. nauk. st. Vyp. 40. / Khark. nats. un-t mystetstv im. I.P. Kotliarevskoho; red-uporiad. L.V. Shapovalova. - Kharkiv : Vydavnytstvo TOV «S.A.M.». - S. 11-32.

12. Shapovalova L. Liturgiia kak « arkhetip» tvorchestva homo credens // Problemy vzaiemodii mystetstva, pedahohiky ta teorii i praktyky osvity: zb. nauk. prats. - Kharkiv : Khark. derzh. un-t mystetstv im.I.P.Kotliarevskoho, 2010. - Vyp.28. - S. 91-1

Аннотация

Духовные символы в контексте музыкального текста («Гимн Украины» М. Вербицкого на слова П. Чубинского). Варавкина-Тарасова Надежда.

Анализ украинского гимна привлекает внимание многих исследователей как в области истории и культурологии, так и в сфере музыковедения и языкознания. Музыкальный текст государственного гимна дает возможность проанализировать системные и междисциплинарные проблемы, которые достаточно трудно исследовать в контексте узкопрофессиональных направлений. Исследование музыкальной символики гимна позволяет синтезировать музыковедческие и культурологические составляющие, включать в практику анализа исполнительный контекст произведения, его музыкальную архитектонику и исследования знаковосимвольных структур.

Проведенный нами анализ позволяет утверждать, что в музыкально-речевой структуре «Гимна Украины» воплощен (возможно, интуитивно) т.н. метод микроминиатюрного искусства, имеющий этнографические корни. В мелодике «Гимна Украины» М. Вербицкий применил симфонический метод развития музыкальной интонации, благодаря которому ее сквозное проведения с постоянным обновлением приобретает новое качество в центральной кульминации на словах вековой клятвы «Душу и тело мы положим за нашу свободу».

Ключевые слова: Гимн Украины, духовная символика, музыкальная архитектоника

Анотація

Духовні символи у просторі музичного тексту. («Гімн України» М. Вербицького на слова П. Чубинського). Варавкіна-Тарасова Надія.

Дослідження українського гімну привертає увагу багатьох дослідників як у царині історії та культурології, так і в сфері музикознавства та мовознавства. Така широка увагу до одного з провідних державних символів країни є зрозумілою, адже в переважній більшості європейських спільнот саме гімн уособлює національну єдність, виступаючи (перефразовуючи Умберто Еко) у ролі «гіпертексту» покладеного на «гіпермузику». На сьогодні музикознавче дослідження гімну існує переважно у вигляді жанрового та формального аналізу, що, на наше переконання, не є достатнім для такого важливого явища в сучасній український культурі.

Музичний текст державного гімну надає можливість поміркувати про системні, міждисциплінарні та міжфахові проблеми, які достатньо важко аналізувати у парадигмі вузькопрофесійного філологічного (власне текст) та музикознавчого (лише музична тканина хорового співу) спрямування.

Для аналізу запропонована (2014 р.) методика духовного аналізу музичного твору, яка дозволяє синтезувати музикознавчу та культурологічну складові, включаючи до практики аналізу виконавський контекст твору, його музичну архітектоніку та дослідження знаково-символьних структур. У «Гімні України» втілено (можливо інтуїтивно) т.зв. метод мікромініатюрного мистецтва, притаманного українським народним майстрам, що потребує високого рівня творчості. У мелодиці «Гімну України» М. Вербицький застосував симфонічний метод розвитку музичної інтонації, завдяки якому її набуває нової якості в центральній кульмінації на словах вікової клятви «Душу й тіло ми положим за нашу свободу». Ключові слова: Гімн України, духовна символіка, музикальна архітектоніка

Размещено на Allbest.ru