Dai T. Opera melos in the light of historical and chronological assessment and vocal and performing perception

The dissertation reveals the issues of opera emotionology and the leading semiological mechanisms of the formation of the musical language of opera. The immanent historical logos and the specific temporal purpose of opera melos are revealed as interdependent with figurative archetypes and emotionological models of opera creativity. The following tasks are solved as the main ones: to identify the specifics of the historical and chronological approach in modern opera studies; to determine the artistic and psychological principles of operatic poetics, leading opera plots and themes, to single out the “Faustian” theme of the test in the development of the opera genre; to reveal the multicomponent figurative-aesthetic and musical-thematic content of the operatic composition and its performance factors, including the example of the work of Ch. Gounod; to develop a typological approach to operatic melos as a subject of vocal-performance perception and interpretation; to reveal the significance of the principles of linearity and simultaneity – chronology and temporality – in operatic work – in the formation of the “artistic and emotional memory” of the genre; to reveal the significance of the image of the hero in Baroque-Classicalist work, in particular in the work of G. Handel; to characterize the originality of the experience of love in its operatic embodiment and the author’s stylistic interpretation in late Romantic art, in particular in the work of G. Puccini; to propose a definition of emotionological models of operatic poetics, to highlight the figurative model of the operatic hero as a passionary and rebel, including using the example of the image of Carmen. The subject of the work is the specifics of the formation and functioning of opera melos, its typological features, development trends and performance understanding. The material of the work was the operatic works of European composers of the classicist-romantic era, in particular G. Handel, C. Gounod, J. Puccini, J. Bizet. The methodological basis of the work is determined by the combination of historical and structural-typological approaches to European operatic creativity; the leading ones are the aesthetic-psychological, in particular the emotionological, metaphorological and semiological directions of research, with the involvement of axiological positions (in particular the trialectic approach). The scientific novelty of the study lies in the fact that for the first time the emotionological nature of opera melos is determined as dependent on the historical logos of the genre, on the historical artistic-psychological features of operatic creativity; the interaction of the principles of chronology and temporality, linearity and simultaneity as factors of the genre memory of opera is considered; the concept of figurative archetypes of opera melos is developed, archetypal features of opera images and emotional-cognitive models of the melodic content of opera are revealed, which determine the special psychological nature and aesthetic functions of operatic experience; the concept of emotional-cognitive method and imagology is further developed; the category of historical chronos and the historical-chronological approach to the study of operatic creativity are specified.