NARRATIVE ESSENCE OF LANGUAGE CONTENT IN COMPOSERS’ EVALUATION OF THEIR CREATIVITY

Abstract

The paper investigates the narratives of contemporary Ukrainian composers, in the context of their assessment of their own work and the actual musicological components of each work: its focus, conglomeration of musical expressive means, and their multidimensional and multifunctional context. The paper focuses on the problem of inconsistency of the author’s linguistic content in expressing his own ideas about his work with the actual work in terms of the logic of musicology, psychology, etc. A new narrative approach to the interpretation of musical expressive means has formed in modern compositional work. They are viewed as the combinations of different levels of perception: visual, sensory, linguistic, associative-ambiguous, abstract, etc. Thus, wherever there is an information and communicative environment, there function the complex cognitive formations allowing to reflect and evaluate the imagery of the musical work. Hence, the “conceptual sphere” of each work emerges that consists of the relevant ideas, concepts, images, and statements. The research methodology is based on the analysis of the sphere of expression of human thinking and communicative processes by R. Barthes, C. Bremond, F. Jameson, T. Titarenko, T. Todorov, E. Tshebinsky, and others. Also, the studies by H.-G. Gadamer, M. Heidegger, P. Ricoeur, R. Harré consider the narrative as a discursive structure formed on the basis of personal experience. In the field of musical art, the problem of narratology was addressed in the works of N. Gerasimova-Persidska, O. Zinkevych, Y. Chekan, and some other musicologists who expressed the essence of modern compositional thinking, in line with a new sense of time and space, discreteness and dialogic historical context of culture. To establish the artistic conceptuality of certain musical pieces, the comparative analysis of subjective and authorial understanding of composers of their own works in the musicological, cultural, and socio-political context was made. As the works have a significant number of allusions to the stylistics of different eras, the conflicting emotional reaction of the composers gives grounds to assert the idea of expressing a narrative of existential torment of a torn postmodern mind in the inter-genre web in their works. The paper concludes that assimilation and awareness of meaning are possible only through certain messages that can have many meanings, and complex decoding of them may take any form. Perception of oneself in the social environment occurs through the formation of narratives that express the author’s position. However, this stance voiced in interviews and other language content is not always consistent with the actual music series. Thus, an interpretive understanding of musical creativity emerges at the junction of the narrator’s and the listener’s meanings.