The dissertation substantiates the concept of the musical speech as a complex semiotic space which has its own grammatical (syntactic), cognitive (semantics) and discursive (pragmatics) levels, internal paradigmatics (relations between elements within the musical text), various parameters of interconnection (temporal, spatial), forms (folded (internal) – open (external)), in the context of which symbols are implemented which, in acquiring additional meanings, form the musical continuum of culture in general.
The genesis of the concept of the «musical speech» which is deemed as an element of the system «language – text» and is a representative of the semantic intentions of the composer, is investigated. The question of comparison of two types of artistic speech-musical and verbal – is raised, and related and distinctive features between them are revealed. The mechanism of interaction between two types of artistic speech at the level of reflection of speech intonational modes is revealed.
The semantics of different intonemes is analyzed, and the modes of their meanings in different musical texts are revealed. Noted that the semantic dimension of musical speech has a deep implication which combines verbal and nonverbal codes, which are superimposed on semantemes, forming a cultural thesaurus of different meanings. The musical-speech activity of the composer is regarded as discursive practice and, at the same time, as a text space.
The analyzes of Ukrainian composers' works of the noted period is conducted from the point of view of the semiotic approach. The modus of analysis was aimed at revealing semantically meaningful structures of musical speech of composers as peculiar sense markers which can acquire meaning. It allowed to understand the deep structures of musical texts not from the standpoint of their uniqueness, but as a complex sign-symbolic space and possible to distinguish the semantically meaningful elements of musical speech which have manifestation at all levels of sense formation: the pretext (the level of archetypes, symbols, concepts to which the composer appeals), the text (the level of musical grammar and intertextual interactions (citation, allusions, reminiscences, etc.) and post-text (level of extra-musical means of expressiveness).
