Investigation of the Peculiarities of the Metrorhythmic Organization of Onegin's Vocal Part in P.I. Tchaikovsky's Opera "Eugene Onegin"

The main attention of the author of the work focuses on the study of temporal structures in the solo episodes of Eugene Onegin. In this work, based on the research of theorists and musicologists, a detailed analysis of metric systems and rhythm formulas in the musical material of the protagonist is carried out. Special attention is paid to the study of the hidden meaning of leit rhythms as means of artistic expression, independent of the melodic-harmonic component of the musical fabric. The author examines in detail such aspects of the topic as accentuation and "broad three-lobe", polyrhythm and polymetry, elements of polyfurcation and fractal processes of shaping, shift of the clock line and higher-order bars. Special attention is paid to the influence of the metrorhythmic side on the figurative and artistic component of the process of creating and developing the plot of an opera performance. The main conclusion of the study is the need to study the regularities of metrorhythmic constructions in vocal parts. This will allow performers to more deeply and comprehensively penetrate deep into the semantic musical structures, get additional opportunities to control the performing apparatus while working on creating an artistic image. This approach is relevant and quite new in terms of the originality of the research perspective, since so far this topic has not been presented in a similar way in the scientific literature. The presence of musical examples, quotations from scientific literature, tables and diagrams turns the work into a visual and easy-to-study scientific material.

vocal parts, Tchaikovsky, metrorhythmic organization, metrorhythmic structure, rhythm formula, polymetry, polyrhythmy, main character, rhythmic pattern, Onegin's rhythmic formula