V. V. Marchenko


The article is devoted to revealing the peculiarities of speech and music integrated functioning in the generative process of a speech-and-music work. Various forms of speech and music interaction are presented, among which the simultaneous generation of speech and music component is regarded as the most productive while a speech-and-music product created by adding a musical component to the poetic text is considered to be the most controversial. In the paper the author dwells on the importance to understand what exactly helps the composer to feel the most essential points in such a complex unity that is a poetic text and to adequately convey the poet’s original intention. Factors enabling adequate speech-and-music synthesis include the elements of intonation system, primarily rhythm and meter. Additionally, the nature of a speech-and-music work is predetermined by the means of lexical and syntactic language levels: The author stresses upon the special role of emotional-and-pragmatic potential, which accumulates the author’s concept of a poetic text, conveyed with the help of the integrated interaction of all language means. The paper substantiates the expediency and feasibility of the further study of speech and music relations by the comparison of emotional-and-pragmatic potentials of a poetic and a speech-and-music work.


speech; music; speech-and-music work; intonation; rhythm; meter; emotional-and-pragmatic potential

Full Text:



Asafiev, B. V. (1971). Music form as a process. Leningrad, Russia: Izdatelstvo “Muzyka” [in Russian].

Kalita, A. A. (2007). Actualisation of emotional-and-pragmatic potential of an utterance: monograph. Ternopіl’, Ukraine: Pіdruchnyky і posіbnyky [in Ukrainian].

Kalita, A. A. & Taranenko, L. I. (2012). The criterion of actualization level of an utterance’s emotional-and-pragmatic potential. Naukovі zapiski. Serіja: Fіlologіchnі nauki (movoznavstvo), 105 (1), 476-484 [in Russian].

Kurt, E. (1931). The fundamentals of linear counterpoint. Moscow, Russia: Gosudarstvennoe muzykal’noe izdatel’stvo [in Russian].

Langleben, M. (2000). Vocal melody in the trammels of language. Muzyka i nezvuchashhee, 91-116 [in Russian].

Marchenko, V. V. (2014). Speech-and-music work as an element of the song discourse. Naukovij vіsnik Shіdnoevropejs’kogo nacіonal'’nogo unіversitetu іmenі Lesі Ukrainki. Serіja: Fіlologіchnі nauki. Movoznavstvo, 4 (281), 102-106 [in Ukrainian].

Taraeva, G. R. (2012). Music-and-speech systems as an object of music semantics theory. Mir nauki, kul’tury, obrazovanija, 1 (32), 39-41 [in Russian].

Gordon, R.L., & Large, E.W. (2007). EEG correlates of textsetting and semantic integration in song prosody. Proceedings of the 2007 Conference “Language and Music as Cognitive Systems”. Cambridge: Cambridge University Press.

Halle, J. & Lerdahl, F. A. (1993). Generative Textsetting Model. Current Musicology, 55, 3-23.

Patel, A. D. (2010). Music, Language and the Brain. Oxford University Press.

Scher, S. P. (1984). Einleitung. Literatur und Musik – Entwicklung und Stand der Forschung. Literatur und Musik. Ein Handbuch zur Theorie und Praxis eines komparatistischen Grenzgebiets, 9-25.

Wolf, W. (2002). Intermediality Revisited Reflections on Word and Music Relations in the Context of a General Typology of Intermediality. Word and Music Studies: Essays in Honor of Steven Paul Scher and on Cultural Identity and the Musical Stage, 4, 13-34.

Copyright (c) 2016 V. V. Marchenko

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.

ISSN 2410-8286 (Online), ISSN 2409-3351 (Print)