The embodiment of the literary source in the vocal works of Dagestani composers

Abdullaeva Elmira B.,

Candidate of Art History, Head of the Art History Department

G. Tsadasa Institute of Language, Literature and Art

Dagestan Federal Research Center of the Russian Academy of Sciences

e-mail: elklas@mail.ru

https://orcid.org/0000-0002-2050-0518

The article analyzes the interpretation and ways of embodying the literary source in the works of Dagestani composers by the example of works in the genres of chamber vocal and vocal choral cycles. The study of the interaction of musical and literary (poetic) texts contributes to the understanding of the composer’s reading, the vision of a particular literary source in the interpretation of a musical work. The study of musical and poetic texts of vocal composition is seen as an urgent interdisciplinary problem integrating the concepts and categories of modern musicology and linguistics. One of its aspects is the correlation of musical and poetic intonation. In this context, the subject of special analysis was the vocal compositions of Sh.R. Chalaev and M.M. Kazhlaev, written on poems by O. Batyr, R. Gamzatov, A.S. Pushkin, M.Yu. Lermontov. The study of this issue plays a key role in understanding the peculiarities of the development of vocal music, as it reveals the synthetism of this musical and poetic genre inherent in its genesis, which is of great importance in performing practice, helping to comprehend and embody the author’s idea. The author comes to the conclusion about the high degree of interrelation and syncretism of the verbal and musical components in the works of M. Kazhlaev and Sh. Chalaev while preserving their original style of compositional writing.

Keywords: poetry, music, synthesis, interpretation, chamber vocal cycle, vocal choral cycle, Sh. Chalaev, M. Kazhlaev

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