Musical motives in texts of poets-sixtiers (based on works by V. Stus, L. Kostenko, I. Drach).

Abstract

The article is devoted to the analysis of interpretation of music, musical genres and motifs in work of Ukrainian poets-sixtiers, in particular by V. Stus, I. Drach, L. Kostenko. The author poses the following research objectives: to determine the characteristic use of musical terms s motives in the works by Vasyl Stus; outline the specific context of the interweaving of individual creativity of musical genres and preferences by I. Drach; to describe the uniqueness of interpretation of musical themes and motifs in artistic creation by L. Kostenko; to characterize how a feature of writer's artistic style influenced his musical interpretation of the specific topic.The author states, the peculiarity of the poets of the sixties was their use of various lexical layers and experiment with the subject of poetic glorification. One such variable seizures the artists of that period was the music. Moreover the music component they have used in many ways – and in the genre, and in terminology and in the tool, and associative.The feature of the interpreting of musical genres and names of musical instruments by V.Stus is examined in the article, as far as its outplaying in a poetic context. Also it is paid attention to the analysis of features of the use musical themes and genres in poetic works by L.Kostenko. The author states that L. Kostenko mixes different music genres – songs and variations, for example. Representatives of musical professions are often found in the works of the poetess–both as fragments of the past and her contemporaries. The use of musical genres and reasons is separately investigated in the poetries by I. Drach. The author traces I. Drach’s interpretation of etude and requiem – musical peculiarities are outplayed in both images and plot. It is stated, that poet maximally ruins musical images and normalities.