The phenomenological approach to the analysis of guitar music of XX century: B. Britten’s «Nocturnal»
The most famous guitar work by B. Britten — «Nocturnal after John Dowland, op.70» is explored in the context of trends of the development of the English musical art and dialogue of cultural traditions. The phenomenological approach to the analysis of contemporary guitar music based on the connection of variation cycle. «Tear motive» as one of the leading rhetorical figures from the song «Come, heavy sleep» forms a dense network of intonations, imitating roll call of votes and constantly emphasized by Britten in each variation of «Nocturnal». Figure of «parrhesia» can be detected in the same semantic field. This chromatic step-by-step movement with "shifting tones in the distance" binds to the affects of sadness and fear. Other figures are «climax» — step-by-step upward movement, that reinforces the basic emotion and «aposiopesis» — silence or understatement, that leaves in the mind of the listener an emotional track of the farewell with the world. Chain of feelings emanating from the melancholic sadness is turned out in the new language conditions with units of strong emotional swings. Such limit psychic states were unknown to Renaissance art. Dramaturgy of variation’s cycle takes on the character of the waves associated with sharp fluctuations of emotions: from the quiet, instinctive fear, panic expectations obscurity to hysterical, desperate resistance, and finally to humility, acceptance of the inevitable. The constitution of these meanings retrieved by consciousness, as well as the phases of their movement, the logic of relations and interactions is conducted in different research levels (semantic, linguistic, compositional and dramaturgical). Together they form a widespread intentional field. The procedure of hermeneutic interpretation of meanings is used for both each variation and the scale of the whole cycle. As a result, for a global cultural dimension Britten’s «Nocturnal» broadcasts leading trend in English music of the twentieth century — the revival of the historical memory, cultural heritage, strengthening successive ties through dialogue with the past. Therefore, any guitar virtuoso, opening the text of the work should take into account the enormous historical trail and the depth of meanings and ideas in it.philosophical procedures of study to the musicological tools: • description — procedure of descriptive phenomenology; it implies the description of phenomena of perception, based on the basis of an individual (including emotional), sensory experience of researcher and disregards formal, conventional concepts, opinions or theories; • ideation — intuitively phenomenological procedure; it includes an intuitive mechanism for intellectual contemplation, search and identify meanings, intentions; • targeting — conscious procedure of targeting; guidance, focus, re-installation of the research focus; it activates at different stages of the study, defines its scope and horizons - from the properties of individual elements of the phenomenon to its interpretation as a projection of a more global phenomena; • reduction — a complex procedure of intentional analysis; it suggests a change of natural researcher’s vision from external perspectives on the perception of the phenomenon to internal; it is divided into the phenomenologically-psychological, eidetic and transcendental reduction; it is aimed at understanding the complex phenomenon through its simplification; • constitution — a procedure of intentional analysis of the constitutive type; operates with semantic horizons, thanks to which intentional actions are arranged in consecutive logical chains and ensured their consistent semantic relationship; • hermeneutic interpretation — verbal interpretation of revealed properties of the phenomenon; based on the historical reflection, comparison and correlation with existing preliminary experience. Targeting of analytical procedures starts with the text of old song — poetry and music. The analysis takes into account the specifics of the source of main theme — «Come, heavy sleep» by J. Dowland. Its semantic, aesthetic and linguistic predicates is found with the reduction procedure. They acquire new meanings, providing impetus for the unusually strong transformations in the author’s intention of the composer of the twentieth century. The paths of motivic transformation of archetypes of rhetorical nature, dynamics of genre mutations are traced in Britten’s «Nocturnal» in the context of the dramaturgy of inverted