Codes of interpretation of musical analogies in poetry.

Straipsnyje aptariami muzikinės, poetinės ir kalbinės raiškos sankirtų aspektai kartu aktualizuojant keletą ryškesnių XX a. susiklosčiusių poezijos ir muzikos giminystės pavyzdžių, kurie iliustruoja tam tikras poetinio teksto muzikos komponavimo principų, struktūrinės ir semantinės sąrangos principų bendrumo apraiškas. Atskleidžiama poetinio teksto analizės strategija, išskiriami Alfonso Nykos-Niliūno ir Nijolės Miliauskaitės eilėraščių analizes formuojantys (formalusis skaidymo ir montavimo, motyvinės plėtotės, tonacinis) skaitymo parametrai.The multifarious and multifaceted musicality of poetry requires musical interpretation codes. Here the musicological approach is of great importance in the way that the nature of music, having no referential phenomena nonetheless becomes referential, recognizing the latter as a cultural text and considering it in its context. This article about musicological identity focuses on an interdisciplinary environment wherein new musicology has found its way. In order to prove the field of research on literature and music, one of the most distinctive studies, that of the classification of the relation between literature and music by Werner Wolf (1999), is discussed. The article discusses aspects of intersections of musical, poetic, and language-related expression. Examples of more interesting musical-poetic theories that came into being at the beginning of the twentieth century are presented (Белый 1929, Сабанеев 1923, Платов 1916). We actualize several more important categories, such as the phonic that investigates the peculiarities and laws of euphony and instrumentation. The expression of musical perception can be added to another category and searched for in the deeper layers of a poem, seen through the prism of analogies of music creation and its dramaturgic development, form, and structure. The research combines the interpretational strategies of Roland Barthes and Wolfgang Iser as well as formalistic analysis methods. The interconnectedness of these methods and the actualization of the musicological experience of musical text analysis constituted the interpretational character of poems presented in this article. While trying to concretize the strategy of poetic text interdisciplinary analysis realized in this article as well as the similarities of structural composition of musical and verbal languages, we provide the example of an analogy of motif analysis of the poem Summer Symphony (1941) by Alfonsas Nyka-Niliūnas (1919–2015). A musical analogy using the continuous motif-variant-related development technique is expressed in the process of motif selection and arrangement. In this way, the integrity typical of symphonic perception as well as a coherent interdependence of all elements are achieved in the four-part series of poems Summer Symphony. In this article, we use the idea of tonal analogy in literature and poetry proposed by musicologist and literary scholar Boris Katz (1997). The researcher’s conviction is that time relations can be analogous to tonal relations of musical form in poetry. Appealing to Katz’s theory of tonal analogy in literature and poetry, we provide the poem In the Dream I Sewed a Black Dress… (1981) written by Nijolė Miliauskaitė (1950–2002) as an example of tonal analogy as well as motif-related semantic analysis. The “tonal” analysis of the poem reveals that in this case we can treat the principle of the relationship between verb tenses as the main principle of textual structuring