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Белорусская песенная строфика как предмет лингво-музыкальной диалектологии

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Кутырёва-Чубаля [Kutyriowa-Czubala] Г. G.
Acta Baltico-Slavica
|
2012
|
vol. 36
EN
Belarusian stanzaic prosody as a topic of the lingua-musical dialectology Stanzaic prosody of ritual songs detects both synchronous as well as polymorphic or bistructural correlations of the two song components – poetic text and tune. Tune often has its own actual segmentation (which does not match the text) and its own syntagmatics. Therefore, the verse-quantitative (according to number of verses in the strophe) classification of song forms accepted so far in musical folklore is unproductive and slightly informative. Paradigmatics of melodious forms is more complex and diverse. The same poetic text in tunes of various internal architectonics has different tension, euphony and semantics. This article discusses four of them: 1) repeating, 2) reprise-symmetrical forms, 3) polymorphic forms based on bistructural properties (opposition) of text/tune, 4) implicative forms, variations of question-and-reciprocal ones. Each of the structural-compositional paradigms has its spatial distribution (areal) and is located in the chronological order of forms.
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Белорусская песенная строфикакак предмет лингво-музыкальной диалектологии

51%
Кутырёва-Чубаля Г.
Acta Baltico-Slavica
|
2012
|
vol. 36
93-112
EN
Stanzaic prosody of ritual songs detects both synchronous as well as polymorphic or bistructural correlations of the two song components – poetic text and tune. Tune often has its own actual segmentation (which does not match the text) and its own syntagmatics. Therefore, the verse-quantitative (according to number of verses in the strophe) classification of song forms accepted so far in musical folklore is unproductive and slightly informative. Paradigmatics of melodious forms is more complex and diverse. The same poetic text in tunes of various internal architectonics has different tension, euphony and semantics. This article discusses four of them: 1) repeating, 2) reprise-symmetrical forms, 3) polymorphic forms based on bistructural properties (opposition) of text/tune, 4) implicative forms, variations of question-and-reciprocal ones. Each of the structural-compositional paradigms has its spatial distribution (areal) and is located in the chronological order of forms.
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