Historical Types of Folklore Thinking in the Lyrical Songs of Sloboda Ukraine
DOI:
https://doi.org/10.31866/2410-1915.24.2023.287697Keywords:
regional studies, musical art, vocal art, folklore thinking, lyrical mode of thinking, modal-tune and integration-melodic types of folklore thinking, Sloboda UkraineAbstract
The aim of the article is to identify historical types of folklore thinking: the modal-tune and integration-melodic types in song lyrics based on the folk song tradition of Sloboda Ukraine. Results. The figurative content of archetypes of folklore thinking is expressed by rhythmic and melodic codes as a sound embodiment of symbolic and logical figures of thinking. In the process of development, they were assigned to certain song forms and acquired features of functional differentiation into ritual, epic, and lyrical with a predominance of a certain modality: exclamatory, persuasive, and later narrative. On the basis of the narrative modality, which prevails in the genre of lyrical songs and ballads, the lyrical mode of thinking emerges within the local folklore environment. Song examples representing the drawling type of chanting of lyrical songs can be attributed to the modal-tune type of folklore thinking. The integration-melodic type of folklore thinking is characterised by fundamental changes in the process of musical development based on logical figures of grouping and classification. The transfer of the main function to the highest solo voice, the concentration of the intonation content in it, affected the creation of melody. The scientific novelty consists in substantiating the modal-tune and integration-melodic types of folklore thinking on the material of the song lyrics of Sloboda Ukraine. Conclusions. Lyrical songs of modal-tune type create the song stanza by alternating autonomous song segments caesurated according to the logic of musical development. In the chants of integration-melodic types, the highest voice of sub-chant polyphonic structure acquires the properties of a melody thanks to the concentration of the intonation content and the character of the caesura. The structure of the chant becomes more symmetrical, with the features of a responsive stanza.
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