Nechepurenko V. Gabriel Faure’s vocal works: ways of formation of the genre melodie

The thesis is devoted to Gabriel Faure’s vocal works (1845–1924), who is one of the brightest French melodists of the second half of XIX – early XX century. The vocal contribution of the composer is considered in the context of French vocal genre melodie, which presented new principles of combination between poetical and musical texts. The French melodie got a special meaning in the composer’s work, since passed complicated development and gained its own characteristics. There were analyzed vocal works written by Gabriel Faure in different years in order to reveal the principles of the composer’s work with poetic primary source at every stage of his creative development. Furthermore, there were considered the composer’s five vocal cycles: «Five melodies of Venice», «Good Song», «Eve’s Song», «Closed Garden» and «Mirages». Each of these vocal cycles is analyzed in terms of the features interactions between music and poetic texts. Special attention is paid to the peculiarities of implementation structural elements of the poems in the musical material of G. Faure’s vocal miniatures. Analysis of the vocal works revealed the specific of embodiment of genre melodie in G. Faure’s chamber-vocal cycles in different periods of his creativity. Additionally, based on this research were revealed main features of the French genre melodie, which were formed in G. Faure’s vocal works: careful processed at all levels of the poetic text (figurative, structural, rhythmic, phonetic and etc.), the reflection of all features in musical material to the fullest fusion of ideas in both texts (verbal and musical). There was determined meaning of the composer’s search in vocal genre and the level of impact by G. Faure’s vocal heritage on next generation of young French composers, who applied to the genre melodie (C. Debussy, M. Ravel, F. Poulenc and others).