Abstract:
Дисертація присвячена дослідженню остинато як одного з важливих
конструктивних та семантичних засобів музики ХХ століття. Актуальність
роботи обумовлена об’єктивною необхідністю вивчення остинато у його
історичній та смисловій динаміці та вияву його характерних рис як одного з
різновидів повторення у музиці ХХ століття. Основний напрямок дослідження
визначила специфіка остинато як потужного філософського-семантичного та
естетичного музичного засобу.
Теоретична концепція дослідження ґрунтується на розумінні інтеграції
структури та семантики музичного твору, що зумовлює вивчення остинато як
одного з найяскравіших проявів музичного мислення ХХ століття.
У процесі дослідження остинато у музиці ХХ століття як музичного явища
і як теоретичного поняття отримано результати, які полягають: 1) у розгляді
остинато як певної системи повторень, інтегрованої у музику ХХ століття;
2) обґрунтуванні диференціації понять «повторення» та «остинато» через
уточнення їх сутнісної специфіки у контексті музики ХХ століття;
3) структуруванні функцій остинато як формотворчого засобу і естетикосемантичного прийому в музиці ХХ століття
Description:
The dissertation is devoted to the research of ostinato as one of the important
constructive and semantic means of music of the 20th century. The relevance of the
work is due to the objective need to study ostinato in its historical and semantic
dynamics and identification of its characteristics as one of the variations of repetition
in the music of the 20th century. The main direction of the research is identified by
the specificity of ostinato as a powerful philosophical semantic and aesthetic musical
instrument.
The theoretical concept of the research is based on the understanding of the
integration of the structure and semantics of the musical work, which determines the
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study of ostinato as one of the most remarkable manifestations of musical thinking of
the 20th century.
While studying the ostinato in the music of the 20th century as a musical
phenomenon and as a theoretical concept, we have obtained some results through: 1)
considering ostinato as a certain system of repetitions integrated into the music of the
20th century; 2) substantiating the differentiation of the concepts of "repetition" and
"ostinato" by clarifying their essential specificity in the context of the music of the
20th century; 3) structuring the functions of ostinato as a formative means and
aesthetic-semantic method in the music of the 20th century.
The interpretation of a certain system of repetitions as ostinato is based on the
analysis of a two-way, interrelated process. On the one hand, in the subordination of
the components of a musical work, the repeated secondary element (detail of texture,
accompaniment, etc.) turns into ostinato, if it has the meaning of the symbol in this
particular work. A similar meaning can be formed at any level of musical semantics:
from the level of genre features to the figurative-associative system of this musical
work. On the other hand, repetition, if it has no applied, constructive meaning, and
acts as a means to draw further attention to this exact intonation, rhythm, timbre, and
other musical elements, acquires the character of ostinato in the literal translation of
this word. This may happen in two ways: 1) by increasing the information content,
and hence the symbolization of constructive repetition; 2) by non-constructive
repetition of individual elements.
In our work, ostinato theory is constructed as a deep analysis of one of the most
powerful manifestations of musical thinking of the 20th century. The theory of
ostinato is built according to the specificity of ostinato as a musical objectification of
certain ideas and symbols characteristic to the particular era. It consists in
categorizing its four main functions: simultaneous contrast; movement; statics;
repetitiveness.
Analytical substantiation of the formulated theoretical propositions has shown
that ostinato mainly prevail in the works (or their parts) with hidden meaning,
semantic depth and multilayer structure. Usually, the composers put in the ostinato
figures some message, which is repeated frequently; the very fact of the ostinato
(obstinate, stubborn) repetition transmits the information.
Some of the provisions, outlined in this research, such as the historical
dynamics of the principle of repetition, the relationship of fundamental musical
principles with philosophical and aesthetic trends of our time are promising for
further musicological development.