Schubertianism in the musical culture of the 19th-20th centuries as a cultural code of the European chamber and vocal tradition

Section 2. Ukrainian and World Musical Culture

Abstract

Statement of the problem. The phenomenon of Schubertianism, which is one of the most representative manifestations of the European chamber and vocal tradition, has not yet received the proper interdisciplinary theoretical considering. In most musicological works, it is understudied either as a stylistic category, or as a historical reception of Franz Schubert’s creative work, or as a manifestation of the vocal interpretation of German Lied. At the same time, Schubertianism is much broader – it constitutes a unique cultural and aesthetic code that combines intonation psychology, poetic semantics, performance dramaturgy and the philosophy of subjectivity. The absence of a holistic integral model of this phenomenon determines the need for its comprehensive scientific analysis. Objectives, methods, and novelty of the research. The purpose of the study is to understand Schubertianism systematically as a multidimensional cultural phenomenon that has formed a separate model of musical thinking based on the psychological dramaturgy of Lied, intonational subjectivity and the interpretative tradition of the 19th–20th centuries. The research is based on historical-contextual, structural-analytical, semiotic, hermeneutic and cultural studies approaches, taking into account vocal performance as a component of musical semantics. The scientific novelty lies in revealing the Schubertianism as an integrative intonation and cultural code that encompasses musical text, psychological states, performance models and cultural memory; in defining Lied as a form of musical self-disclosure of subjectivity; and also in emphasizing the decisive role of Dietrich Fischer Dieskau’s performance school in forming the canon of interpretation of Schubert cycles. Research results. As a result of the study, it has been established that Schubertianism functions as a holistic intonation and semantic system, which combines poetic imagery, psychological reflexivity, chamber dramaturgy, and philosophical symbolism. The three F. Schubert’s vocal cycles – «Die schöne Müllerin», «Winterreise» and «Schwanengesang» – form the dramaturgical axis of the lyrical subjectivity: from emotional primordiality to existential brokenness and meditative maturity. The Fischer-Dieskau’s performance paradigm has established microdynamic accuracy, text-centricity, intonation chamber nature and psychological depth as the main principles of interpreting the Lied. Conclusion. Thus, the phenomenon of Schubertianism goes beyond the boundaries of its definition as style and appears as a universal cultural code that determines the modern perception of musical subjectivity, artistic thinking and performance memory.