Tzu L. Timbre semantics of wind instruments in the genre form of a cyclic symphony

The dissertation reveals typological indicators and tendencies of development of timbre semantics of wind instruments, the fundamental significance of the genre form of cyclic symphony in the historical process of formation of semantic functions of timbres of wind instruments is proved. The leading musicological approaches to the phenomenon of instrumental timbre, timbre semantics, timbre drama are determined, modern achievements in the field of instrumental and orchestral timbrology are covered. It turns out that the origin, genre stabilization and stylistic evolution of cyclic symphony as the highest form of absolute "pure" music are due to the diversity of functions of orchestral instruments, organized set of instrumental timbres, among which the timbres of wooden and brass instruments play an important role. The historical evolution of the genre form of the cyclic symphony is highlighted; the semantic functions of the parts of wooden and brass wind instruments in the orchestral composition and the drama of the cyclic symphony in the works of J. Haydn and W. Mozart are considered. The significance of Tchaikovsky's symphonic method in the formation of the system of semantic modalities of wind timbres is revealed; performing and interpretive factors of figurative functioning of orchestral wind timbres are determined, with the involvement of the interpretation of Tchaikovsky's symphonic works by the modern Greek conductor T. Kurentzis. Systemic figurative and semantic properties of wind instruments, compositional and dramaturgical functions and semantic modalities of wind instrument timbres are characterized as a determinant of canonical genre features of cyclic symphony. The study of tendencies of typology of timbre semantics in symphonic music of the XX century (in particular in the works of B. Tyshchenko and V. Hubarenko) allows to prove the role of timbre of wind instruments as a canonical factor of symphonic semantics.