THE SONG «TAKE ON ME» BY THE BAND «A-HA» IN MUSIC PRODUCTION SYSTEM: INTERPRETATIVE ASPECTS

Abstract

The purpose of the research. The work analyzes the song «Take On Me» by the Norwegian band «A-ha» from the initial idea to the commercially successful version, reveals the features of finding the optimal sound of the composition for the most positive response from the audience, and indicates the role of the music producer in creating the final version of the song. The research methodology consists of applying the comparative method in musicological analysis, which made it possible to observe the dynamics of changes in the formation of a new producer’s vision of the song «Take On Me». The scientific novelty of the study lies in the fact that in the work on the example of the song composition «Take On Me» a new type of analysis of a musical work is proposed, which highlights changes at all stages of musical production, which allowed to comprehensively reveal the interpretative potential of the song work. Conclusions Using the example of the song «Take On Me» and its previous versions «Miss Eerie» and «Lesson One», the role of musical production aimed at forming a positive reaction of the listening audience is traced. A detailed analysis of the versions of the song composition clearly demonstrates the realization of its interpretative potential through the characterization of a particular element of musical production. The technology of recording and reproducing synthesized timbres significantly influenced the overall sound of the song «Take On Me», as did the orchestration, which is based on musical classics. The arrangement, timbre of the voice and instruments take the sound of the song to a new level, determining its exclusivity and uniqueness, which was made possible thanks to the correct musical production of the song composition. The key factor that influenced the success of the composition was the collaboration with the qualified music producer A. Terney, who brought the song «Take On Me» to a new level of sound. In the process of working on the work, A. Terney did not deny any of the proposed options for musical production, but accumulated their strongest sides. It has been proven that generating musical ideas and finding the most optimal sound is the prerogative of musical production, for which the music producer is responsible.