Abstract: The research subject is the problem of interpretation of a poetic primary source in choral compositions a capella created by composers in different historic periods. The analysis of interaction between poetic and music texts allows a composer to take into account the peculiarities of the composer’s rendition of a poem when interpreting choral compositions. In this context, the problem of choosing the very methodology of analysis of a choral composition as a stylistic harmony (in the unity of melos and logos) becomes topical. Besides giving the analytical review of the current approaches to this issue, the author considers step-by-step two general lines which serve as the fundamentals for the analysis of the interacting semantic systems in a choral composition. The first methodological approach is the so-called rational-logical analysis of the stylistic harmony giving more attention to the “physics” of the text. The second one can be conditionally designated as a “metaphysical” approach focusing on the highest spiritual beginnings in the content of the piece of art. The author raises a question about search for the most effective methodology able not only not to blot out music and poetry, but also by uniting the methods of positivists and representatives of spiritual analysis, to elaborate on celestial logos fundamentals of the beauty of a choral composition promoting spiritual awakening and transformation of an inspired researcher, reader and performer.  
 

Abstract: The research subject is the problem of interpretation of a poetic primary source in choral compositions a capella created by composers in different historic periods. The analysis of interaction between poetic and music texts allows a composer to take into account the peculiarities of the composer’s rendition of a poem when interpreting choral compositions. In this context, the problem of choosing the very methodology of analysis of a choral composition as a stylistic harmony (in the unity of melos and logos) becomes topical. Besides giving the analytical review of the current approaches to this issue, the author considers step-by-step two general lines which serve as the fundamentals for the analysis of the interacting semantic systems in a choral composition. The first methodological approach is the so-called rational-logical analysis of the stylistic harmony giving more attention to the “physics” of the text. The second one can be conditionally designated as a “metaphysical” approach focusing on the highest spiritual beginnings in the content of the piece of art. The author raises a question about search for the most effective methodology able not only not to blot out music and poetry, but also by uniting the methods of positivists and representatives of spiritual analysis, to elaborate on celestial logos fundamentals of the beauty of a choral composition promoting spiritual awakening and transformation of an inspired researcher, reader and performer.