THE POETICS OF DRAMA IN THE AUTONOMOUS SPACE OF MUSICAL FORM: TOWARD THE PROBLEM OF MUSICAL DRAMATURGY AS A PRINCIPLE OF ORGANIZING THE ARTISTIC PROCESS

Abstract

The aim of this study is to identify the universal principles of musical dramaturgy as a specific mode of organizing musical material oriented toward the laws of drama, as well as to conceptualize conflict, event, and the generic categories of epic, drama, and lyric as fundamental factors of form-building and the semantic unfolding of the musical process. The methodological foundation of the research is a comprehensive interdisciplinary approach that combines musicological analysis with principles drawn from literary theory, aesthetics, and the philosophy of art. The study employs the structural-dramaturgical method to examine form-generating processes, a semantic approach to interpret conflicts, events, and figurative domains, and a hermeneutic method aimed at revealing the semantic layers of the musical text. An important role is assigned to typological analysis, which enables the differentiation of dramatic, epic, and lyrical models of organizing musical form. The scientific novelty of the research lies in the conceptual interpretation of musical dramaturgy as an autonomous system of principles relatively independent of specific genre embodiment. For the first time, a consistent distinction is drawn between the concepts of contrast and conflict within the context of musical form, and a typology of conflict is proposed that takes into account internal, introspective processes. An analytical model of the event as a semantically charged node of musical development is elaborated, and the functioning of the categories of plot and storyline (fabula) in instrumental music is clarified. The specificity of epic and lyrical principles is substantiated as particular modes of organizing musical time and meaning. Conclusions. The conducted research makes it possible to consider musical dramaturgy not as derivative of theatrical or verbal drama, but as a universal mode of organizing musical material based on principles of intensified processual unfolding. The transfer of the poetics of drama into the sphere of music leads to a transformation of dramaturgical categories, which lose their attachment to external eventfulness and acquire an immanent musical meaning, realized through intonational, timbral, rhythmic, and harmonic relationships. The central link in this type of organization is conflict, which in musical art cannot be reduced to a simple opposition of thematic or figurative spheres.