MACROCYCLES AS THE LOCUS OF INTERTEXTUAL SENSE FORMATION (ON THE MATERIALS OF THE ENSEMBLE CREATIVITY OF UKRAINE OF THE LAST THIRD OF THE XX – EARLY XXI CENTURIES)

Abstract

Purpose of the article. The aim of the article is to investigate the processes of the semiological and aesthetic-cultural reflection of the intertextual strategy of modeling the artistic and semiotic integrity of the works of chamber art of Ukraine in the last third of the 20th and beginning of the 21st centuries and the related influence of the intertextual potential of musical structures on the formation of symbolic macrocycles in the hypertextual space of musical consciousness. Methodology. Theoretical-musicological, semiotic, intertextual, cultural-hermeneutical methods of analysis have been applied. Scientific Novelty. The deployment of symbolic macrocycles in the hypertextual dimensions of musical consciousness is revealed. The importance of these processes in updating semiotics and semantics of modern musical culture is emphasized, while preserving the traditions of cultural-historical, genre-style and musical-semiotic memory. Conclusions. The analysis of the works of the chamber art of Ukraine in the last third of the 20th and beginning of the 21st centuries sharpens the research attention to the issues of understanding the semiotic nature of the functioning of the phenomenon of musical intertextuality and the cultural significance of the intertextual poetics of creative consciousness. It was found out that multi-layered intertextual / auto intertextual links actualized in chamber music with the help of artistic-compositional principles of polystylistic form a diachronic/synchronic section of explicit/implicit, complementary/antithetic semiotically-meaningful parallels. The uniqueness of the intertextual potential of musical structures lies in the ability to form outlined connections both at the level of individual compositions and at the level of macrocycles of compositions – the symbolic union of different genre works in the general hypertext communication space of sign language codes, artistic phenomena and creative personalities of different historical and style epochs, countries, regions, composer's schools. The processes of deployment of macrocycles of memory consisting of works, as a rule, of several authors, conditionally united by associative connections with the past, "another's word", and author's macrocycles formed from compositions of one author, especially united by auto citations, containing an encrypted artistic message, are analyzed. It is proved that the functioning of these varieties of macrocycles, on the one hand, contributes to the renewal of semiotics and semantics of contemporary musical culture, and on the other – embodies the memory of culture and establishes a connection with traditions in the content and connotation of musical works, and chamber art of Ukraine and the musical-aesthetic consciousness of its interpreters and recipients.