Binary analysis-interpretation experience of "To Alina" piano piece by A. Part

This paper presents binary analysis-interpretation experience of "To Alina" piano piece by A. Part. Methodological peculiarities of this method developed by the author are formulated as: 1) conscious set on identifying binary oppositions in structural-semantic arrangement of the musical text; 2) using of oppositions as hermeneutical tool in analysis and interpretation of imagery content; 3) comprehension in axiological key of the oppositions' dramaturgical interaction modus; 4) isomorphism method to binary archetype of the composer's thinking. Binary analysis-interpretation algorithm is described through: 1) structural analysis of the text in binarity aspect; 2) semantic analysis of identified binary oppositions; 3) interpretation of value-symbolic significance of binary oppositions. In structural-semantic organization of "To Alina" text the following binary oppositions are identified, formed by melodic voice (M-voice) and tintinnabuli-voice (T-voice): melodic "expansion - contraction" and "narrow - wide" intonation moves in the logic of M-voice development; method of rhythmic unfolding (addition) and folding (subtraction) in M- and T-voice; cohesion of short durations with their further stopping on long duration in both voices; binary alternating of minor and major thirds in vertical correlation of M- and T-voices. It is noted that rhythmic-melodic identity of M- and T-voice in artistic sense creates conflict-free and mono-imagery character of the music. It is also noted that modal pulsation of major-minor chiaroscuro gives the music emotionally flexible character. With the aid of reasonably built binary structures, logic number's semantization phenomenon is singled out. On the level of technical content, this phenomenon determines pitch and rhythmic micro-eventfulness, while in artistic terms it is a way of expressing richness of micro-eventfulness in the image's internal condition. Semantic connotations of M- and T-voice are revealed: spiritual semantics of M-voice's Gregorian melody and bell euphony and nobleness of T-voice's sounding. Value character of complementary (plirome) interaction mode of M- and T-voice is perceived. It is noted that due to their plirome mutual agreement an integral, lyrically-meditative and spiritually profound artistic image is formed. In conclusion, it is noted that usage of binary analysis-interpretation's hermeneutic method helps to attain metaphysical profoundness of the work.

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