In the work for the first time the analysis of the Eighth book «Madrigali guerrieri, et amorosi» was carried out; line-by-line were made translations into ukrainian of old italian poetic texts by F. Petrarch, F. Testa, J. Guarini, J. Marino, T. Tasso, O. Rinuccini, A. Parma, J. Casoni and J. Strozzi; was made an analysis of musical and poetic series; were indicated the main ways of the composer’s work with the poetic text in madrigals.
The main goal of C. Monteverdi’s work was the implementation of the affect of the poetic text. To achieve this goal, it was necessary to change the established polyphonic composition. Such composition made it impossible to revive the main principles of ancient theater – to highlight the meaning and influence of the Word by Melody.
Due to such high attention to the word, the proposed dissertation research describes the modern views of scientists on the peculiarities of verbal and musical combinations (works of K. S Brown, T. Bershadskaya, V. Wolf, V. Vasina-Grossman, V. Zharkova, L. Kramer, Y. Lotman, O. Mikhailov, K. Ruchievskaya, S. P Shera, etc.). It is revealed that the combination of musical and verbal texts takes place at certain levels: intonation, rhythm, emotional imagination, formative; at the level of music and literature synthesis, music and literature, music in literature.
We outlined the researchers’ opinions on the directions of interaction of word and music. These directions are manifested at the level of identification of word with music and music with word. The rhythmic structure of poetry and music is the basis for the formation of the composition form. Special meanings and truths are transmitted and understood through recontextualization.
It is noted that the interaction of musical and poetic arts in the Baroque era arose due to a combination of emotional and rational principles. Their peculiarities were studied in the context of rhetoric, which was born in ancient times and revived in the Baroque era. It is emphasized that verbal artistic language has become the subject of rhetoric. The purpose of it was the emotional impact on the feelings of the listener. In this way, it was important to correctly and beautifully formulate thoughts into verbal texts.
It is emphasized that the principles of rhetoric penetrated into the art of music in the period from the XVI to the XVIII century. Based on this in the proposed dissertation research an attempt was made to determine the basic principles of the emotional impact of musical rhetoric on the personal affective space of the listener.
Three stages of formation of the madrigal genre were determined. These stages took place in the period of XVI–XVII centuries. The process of transformation of C. Monteverdi’s compositional skill was traced on the example of his seven Book of madrigals. These observations expand and deepen the idea of the specifics of the composer’s work with poetic text in the Books of madrigals of different periods of creativity.
Three basic principles of combining musical and poetic texts were revealed based on analysis of madrigals of the Eighth book «Madrigali guerrieri, et amorosi». The first principle is the synthesis of verbal and musical texts made by reproducing the expression of a particular word. The second one is performed through the embodiment of a poetic phrase or a whole line. The last one is performed through the simultaneous reading of different lines of the poetic text in order to strengthen the affect chosen by the composer.
Main methods of the composer to achieve such effect were listed. One of these methods is a combination of contrasting affects in one madrigal composition. The next method is the author’s interpretation of the poetic text (the composer changes the words of the original source or whole poetic lines, shortens the text or embodies selected fragments of large works). Another method is to use different numbers of parts in the madrigal books (from two to eight parts with instrumental accompaniment) or modify the number of parts within one madrigal. One more method is to increase the importance of instrumental support (from harmonious support to the embodiment of a specific emotional state). The last method is to approach dramatic stage works.
