The problem of artistic synthesis in D.Shostakovich's chamber-vocal cycles

Abstract

The purpose of the article is to identify the main factors of artistic synthesis in D. Shostakovich’s chamber-vocal works and to identify the characteristic genre and style features when studying chamber-vocal creativity, as the semantic stability of genre-style forms of chamber-vocal music. The methodology of the work is due to textual, semantic and musicological approaches, aimed at identifying the characteristic properties of Shostakovich's chamber-vocal cycles as an artistic unity of genre prerequisites and style factors that are realized through a specific way of artistic synthesis. The scientific novelty of the article is determined by the presentation of D. Shostakovich's discursive assessments of the chamber-vocal creativity as a result of the process of artistic synthesis and the creation on its basis of a new research concept. Conclusion. It is proved that the work of D. Shostakovich is distinguished by multi-genre and significant stylistic radius, the scale of the concepts and the depth of content, among which chamber-vocal works have a special place. It was in the chamber-vocal works that the composer realized his desire for artistic synthesis through dialogical interaction with the word. The author’s appeal to literary sources of various historical eras and national cultures, a wide coverage of themes and images, linguistic individuality and stylistic contrast, became for him a moment of spiritual revelation, an original way of translating creative ideas related to striving for meaningful counterpoint and the formation of complex multi-level subtexts.
Keywords: chamber-vocal creativity, chamber-vocal cycles, artistic synthesis, musicological discourse, textual approach, artistic and speech signs.