MUSICAL THEMATICISM IN SECONDARY INTONATION: PROJECTIONS ONTO THE POP INTERPRETATION SITUATION

Abstract

The article analyses the phenomenon of musical thematicism in the secondary intonation context, i.e., in the musical interpretation context. The main ideas of number researchers on this issue, primarily V. Moskalenko, are extrapolated to the pop music interpretation situation. The purpose of the article is to determine the basic principles of the transformation of musical thematicism in secondary intonation and to apply the results obtained to the situation of pop music interpretation.The research methodology consists of a combination of analytical, comprehensive and theoretical generalisation methods, implemented through the prism of a systematic approach to the phenomena under analysis. Scientific novelty.The article proposes to introduce into the musicology interpretation context of “matrix information” concept as meaning the information of the original source, which in an intertextual situation serves as the basis for secondary intonation in the interpretive genre’s creation. Conclusion. On the one hand, pop interpretation is a marker of the archetypal basis actualisation of a work, and on the other, it is a way of rethinking it in the present. The repetition of musical and semantic structures inherent in the matrix model, combined with the performerʼs interpretative freedom, creates a dynamic intonation system where constant interaction between the old and the new ensures the continuity and, at the same time, the artistic practice innovativeness. Thus, the pop interpretation, which functions in the secondary intonational model space, not only reflects but also reinterprets the matrix information of the original work. This is a contemporary musical discourse form, within which the artistic text is not limited to a fixed semantic structure, but on the contrary, manifests its openness, capacity for dialogue, transformation and inclusion in new communicative environments. It is thanks to this ability to transform in the act of interpretation that the aesthetic power and cultural vitality of a musical work as an “open text” (U. Eco) is revealed, which, in turn, opens up prospects for further research on the declared topic.