The thesis represents an art history adaptation, conceptualization and interpretation of the philosophical-hermeneutic category of the text eminence by means of intersectoral reliance on the ideas and statements of aesthetics, comparative studies, philosophy of ethnoculture. Musical-verbal eminence, studied in the integrity of its components (mimesis, dialogue, polylogue, intermediality, intertextuality, transcendence, ekphrasis, interpretation) and supplemented with receptive notions (associations, anticipation, apperception, etc.) is being regarded in the integrative dimensions of program and vocal art, "musical" prose and musical paratext in literature.
The program music as a synthetic virtual presentation of literature and partially other arts and intra-music impulses in it, was studied on the piano samples written by Ukrainian composers. The analysis of theoretic works of the researchers of different epochs has enabled to define the program music as an instrumental-synthetic type of creativity in which there is an associatively-virtual, encoded in the specific title (or another paratextual component) coherence of the verbal and music contents on the ontologically-intentional, intermedial and intertextual levels.
Ukrainian vocal music (chamber and choral), in which poetic and musical components, merging in synergy, form a different onthological range of their own word-sound-rhythms. The chosen examples of vocal music, as a paradigm of the transtextual artistic creative practice, are significant not only by the competition for the priority between music and poetry, but a relevant, and a simultaneous convergence of the means of both arts. Undergoing various stylistic musical explications, one and the same poetic composition manifests its features in multifaceted ways, shows its adaptive possibilities and timeless relevance.
Comparative theories of the “musical” prose developed both as musically-centered and by means of the dominance of literature (or, more seldom, other arts). The musical prose of Ukrainian modern writers, music-critical writing attempts and literary-journalistic achievements of musicians entered the third dimension of the two arts combination, which manifests itself in time and space (in the forms of “performance” or “perception” here-and-now) or illusory (for example, in the form of memories, abstract reasoning, lyrical digressions, etc.).
A more thorough study of the functioning and operation of the mentioned contacts revealed the great importance of musical titling in literature and journalism and became the impetus for the separation of this nomenosphere into the fourth dimension. The musical nomenosphere of the titles serves as the leading thread of the content. It gives the presentation special features, often becomes a constructive project of the “building material” of the form.
In the paradigms of each eminent dimension emerges a unique and significant role of the folk song (lyrical, historical, patriotic, household, ritual, paraliturgical, etc). Various symbolic visions of the song in interpretations of composers, writers, poets, scholars, musicians emphasize on its “self-eminence” (or “self-identity”) as well as on genealogically specific and cordocentric rooting in professional and artistic form of national culture and critical developments.
The eminence is a physical (i.e. embodied) and a metaphysical form of interdependence, mutual elevation and mutual presentation of the two arts in these synthetic musical and verbal dimensions and paradigms. It reveals the authors’ holistic attitude to creativity; the result is the informational, figurative and semantic (sometimes also semiotic) stereophony of texture presentation. Borrowing and exchanging concepts, means and functions, referring to substitutes, equivalents, symbolism of expression indicate of the intentions of the addressees to expand immanent borders of arts, find new points of contact between them to mutual enrichment of poetics. Interpretation which lies in the basis of perception of integrative dimensions, gives every reason to the search of deep semantically figurative correspondence and new heuristic explications, building up an endless number of meanings of artifacts of Ukrainian art culture.
