THE CATEGORY OF «COMPOSER’S PORTRAIT» IN A MUSICAL TEXT AS AN OBJECT OF MUSICOLOGICAL RESEARCH

Abstract

The purpose of the article is to study the image of the composer in a work and the ways to achieve the effect of his presence. To characterize the category of the artist’s personality, which is related to both semiotic and psychological discourses, by analyzing the spheres of categories of musical portraiture in general, the universal significance of recognizable features of an individual creative style and the author’s own image. The methodological basis of the study is an integrated approach to the reproduction of the composer’s image in a musical opus, which includes: the analytical method, which is fundamental in the study of scientific literature; retrospective and structural-systemic – in the analysis of sources, aesthetic, ideological and stylistic features in the interpretation of the composer’s image; historical-comparative principle, which was used to compare the interpretation of approaches and means of self-identification, interpretation of the composer’s image as an object of musical creativity. Scientific novelty: the differences between the individual style and the semiotic field of the artist’s image were analyzed, in the process of which the relationship between the aesthetics of self-identification of the author of a musical work and the psychotype and socio-cultural conditions was revealed. Conclusions. It has been determined that the ideas about the social and domestic status, role and mission of the composer in the contemporary society are inseparable from their inner experience by the master, his psychological type, and the vicissitudes of his creative and personal life in the self-portrait. The image of the artist is revealed as an opportunity to enter the sphere of the composer’s inner dialog with himself, to penetrate the secret world of artistic individuality: reflections, selfassessments, interpretations of his own destiny. Closely related to the semiotic doctrine are the aspects of the intertextuality of the musical text, in the context of which it is possible to consider a powerful system of artistic codes for self-identification or recognizable features of another artist’s compositional work. The portrait of the author himself, as well as the image of another composer, is a kind of readable symbolic code, and therefore the addressee of the message is also significant. It is proved that the study of this phenomenon is also enriched by the ambiguity and multiplicity of author’s positions on self-identification in their own work.