Aesthetics of chamberness in the creativity of women composers of the 19th -century (on the example of vocal genres)

Section 2. Ukrainian and World Musical Culture

Abstract

Statement of the problem. The chamber-vocal genre of the 19th century becomes a space, in which a new way of musical self-expression is formed, based on psychological intonation and personal truthfulness of experience. In this context, the phenomenon of female composing arises – a phenomenon that has long been marginalized in the traditional music-historical narrative. The question is to identify the specific features of the female aesthetics of chamberness, which are not reduced to either biographical conditions or gender characteristics of “femininity”, but are manifested at the level of sound thinking. Objectives, methods, and novelty of the research. The purpose of the study is to analyse the intonation-semantic, harmonic and performance patterns of chamber-vocal compositions created by women composers of the 19th century (F. Mendelssohn-Hensel, C. Wieck-Schumann, M. Malibran, I. Kolbran). The methodological basis is an interdisciplinary approach that combines intonation, genre and style, and phenomenological analysis. The scientific novelty lies in the interpretation of chamberness as a form of spiritual self-reflection and aesthetics of the inner voice, which acts as a method of compositional thinking and performing articulation. Research results. The article proves that a woman composer forms her own intonation model of chamberness, which is based on the natural development of the melody’s breathing, minimalism of affect, microdynamic shades and delicate timbre balance. For Lieder by F. Mendelssohn-Hensel, polyphonic intonation variations are characteristic, which creates a psychological and poetic atmosphere of trust. The creative work of C. Wieck-Schumann represents a rationally balanced type of chamberness, where harmonic relationships reflect the inner movement of feeling. M. Malibran and I. Kolbran demonstrate the line of vocal miniature, in which timbre, articulation and psychological intonation plasticity become the determining factors. Conclusion. Thus, chamberness in the vocal creative work of women composers appears not as pure “female emotionality”, but as an intonation philosophy that reproduces the experience of inner being in music. This allows us to speak of female Lied as an autonomous aesthetic system of European Romanticism.