SEMANTIC AND IMAGINARY SPHERE OF SONOR INTONATION IN THE WORK OF V. RUNCHAK (ON THE EXAMPLE OF SUITE NO. 2 “UKRAINIAN” FOR ACCORDION, “1+16...” FOR VIOLIN AND STRINGS AND “DUEL” FOR ENSEMBLE OF WOODWIND INSTRUMENTS)

Abstract

Purpose: to determine the musical-intonational objectivity of sonorous means, their structure and figurative-semantic meaning on the basis of the analysis of V. Runchak’s works. The article uses traditional musicological methodology, which involves the use of historical-stylistic, genre-stylistic, textual and comparative-typological methods. Aesthetic-cultural and historical-comparative approaches are involved. In accordance with the title of the article, research methods are also aimed at analyzing the “synthetic” forms of intonation we found in the musical material and include analytical study of their components (timbre, rhythmic intonation, dynamic, textural). Scientific novelty is to determine the place and importance and semantics of types of sonorous intonation in musical style of V. Runchak. In the analysis of a number of works by V. Runchak we come to the conclusion that a significant amount of the sonorous means covered by the composer (cluster consonances, sonorous-melodic intonation, various techniques not typical of “traditional” sound production on instruments). In the music of the 20th century, and in particular, in sonorous music, the simultaneous introduction of different dynamic levels is often used, giving the musical fabric a spatial sound. In a word, in sonorous music preference is not given to any property of musical sound, but to their constant interaction with each other. It is the combined effect of interaction, a set of parameters that give birth to what is perceived as a “type of sound”. And despite the prevalence of many methods, sonorika remains the music of purely individualized sounds (individual or personal stylistic decisions), and for such it is necessary to invent special combinations of sound properties and different techniques of sound production, invested in the creation of certain images, the embodiment of certain compositional ideas.