MADRIGALISM IN UKRAINIAN AND FOREIGN MUSICOLOGY: TERMINOLOGY

Abstract

The article is devoted to the study of the terminological apparatus used to describe the relationship between music and text in madrigals of the sixteenth and early seventeenth centuries. The purpose of the work is to reveal the meaning of the term madrigalism in Ukrainian and foreign musicology, as well as to clarify the general ways of its use and differences from the concepts of «rhetorical figures» and «word painting». The methodology of the study is based on general theoretical principles related to the study of madrigals in Ukrainian and foreign musicology. To identify the common and distinctive features of the categories of terminological apparatus, the following methods were used: hermeneutic and etymological methods and the method of comparative analysis. The general historical method was used to reveal the origin of the the madrigal genre. The scientific novelty of the article consists in the approach to the terminology of madrigals from the perspective of historically oriented musicology, through the analysis and comparison of the most modern trends in the works of scholars whose interests include music of the Renaissance and early Baroque. This study is conditioned by the fact that there is currently no single approach to analysing madrigals and identifying specific genre and style features, the most striking and important of which is the interaction of music and words within the genre. Conclusions. The analysis of the studies that deal with the music of the period of the sixteenth and early seventeenth centuries demonstrates an absolute discrepancy between the approaches in Ukrainian and foreign musicology. In foreign musicology, madrigalism is used equally with word painting. In Ukrainian works, the term madrigalism has been almost replaced by musical rhetoric and rhetorical figures. What is common to the works under consideration is that they do not provide a definition that would help distinguish madrigalism from an ordinary musical text. The distinctive features of the above-mentioned terms, which will better orientate in the most appropriate use of one of them, are the presence or absence of text, which is not essential for rhetorical figures; the depth and obviousness of the image in the verbal text conveyed through music, as well as the level of sensual perception.