The Attributive Features of the Hero as a Category of Musical Poetics in Pieces from the Children’s Musical Repertoire

Abstract

The article offers means of defining the features of the hero as a structure of the musical text of pieces from the children’s repertoire. Since any kind of artistic text is created in accordance with unified semantics-bearing laws, the category of the musical hero is examined along with such categories of poetics as the author, the protagonist, the image, the dialogue, the scene, the subject matter, the idea, which, nonetheless, up to now have continued to be relegated to the sphere of metaphors. Nonetheless, the description of the features of the hero on the basis of intonational lexis of various types of etymology is seen as presenting its result. Demonstration of the indicated features incorporates a particular mechanism of semantic analysis, which makes it possible to elucidate the lexical structures manifesting the hero.
Semantic analysis has shown that the category of the hero is presented in the musical text structurally; it may be described both as a biologically definite being and a socially concrete personality. Moreover, pieces from the children’s repertoire are endowed with the capacity of manifesting the personified hero who represents living nature. The attributing of the hero also sees the participation of the heading, which, nonetheless, does not always indicate the hero directly. However, the heading always (whether directly or indirectly) depicts the hero’s place of action and the world surrounding him.The hero receives his attribution most often in musical speech and in plastic models. Besides the “audible” and “visible” attributes, the hero in an artistic text is also actualized through the features of evaluative character: with their help the author, who is situated “off-screen,” endows the hero with the biological and characterological features of a human being.
Study of musical content from the point of view of the categories of musical poetics may make the interaction of the analytical aspect with performance practice more effectual and productive. At the same time, the various approaches to the art of performance shall inevitably acquire new features which bring the performer’s activities in the questions of articulation and intonation closer with dramatic art.