Strylchuk O. Composer poetry by Olivier Messiaen in the light of the conceptual approach

The thesis is devoted to the of composer's poetics O. Messiaen's, aimed at identifying the stylistic factors and conceptual component of the composer 's music – creative system. The thesis defines the boundaries, directions and trends of scientific Messiaen’s discourse. The characteristics of "Technique de Mon Langage Musical" by Messiean and the review of his teaching activity give the key to understanding the method of work of the composer with the musical material, reveal the prerequisites for the emergence of creative ideas. The chosen conceptological methodological toolkit is conditioned by the aesthetic picture of the world of the composer, allowing to combine unique author's features of his creativity with valuable universals of culture. Compositional technical searches and findings of the Messiean reveal a special interaction of the phenomena of time and play in his poetics. The thesis traces the realization of these phenomena at different levels – structural, forming, genre, ideological-aesthetic and conceptual, the example of different works reveals the significance of these phenomena, stylistic prerequisites for the formation of concepts of play, time and love. Unique authorial programmity, which indicates the main symbolic content of the work and its figuratively-poetic, though not specified, perception, is proved by studying the key words of the verbal-poetic thesaurus of the work of Messiaen. Messiaen creativity reveals the cross-cutting meaning of the concept of love. The emblem of love – as a sign of the highest form of human existence – is the most important manifestation of the liturgical images of the Messiaen. The textual paradigm of the idea of love is born precisely in the religious works of the composer. Musically expressive signs of the emblem of love is a timbre-textural formula of pure homogeneity.