The "overtones" of the romantic ballad in the works of modern composers of Kuban (on the example of works by Konstantin Pashkov)

The sociocultural existence of the genre outside its era is a problem that will never lose its relevance. In fact, the secondary use of the genre in various cultural texts is nothing more than an indicator of the viability of the morphological system of art. In the article, considering the transformation of the romantic ballad in modern culture, the author reveals the genre canon of the ballad, hidden in the depths of the author’s layer of the work and turned into an “image of the genre”. To reconstruct the genre archetype of the ballad, its “reference points” are distinguished, which perform representative functions in the artistic culture. These include: the "general intonation" of the genre-fear and suffering-arising from the invasion of the world of the dead into the world of the living; plot motifs of love-in-death and fate; the presence of two worlds-“here” and “beyond”, which suggests a tragic outcome; the "character frame", consisting of a foreign alien, his beloved and a narrator; compositional and dramatic balance of power corresponding to six plot functions (violation of the ritual taboo - invasion of a foreign alien - meeting of two worlds - interaction of the worlds - return of the alien - “wedding-funeral”). The author chose the cycle Five Pieces for a String Orchestra, the work of the modern Krasnodar composer Konstantin Pashkov, as a vivid example illustrating the prolonging tendencies of the romantic ballad. Each piece of the cycle has a programmatic or genre title: No. 1 “Voland’s Ball”, No. 2 Ostinato, No. 3 Elegy, No. 4 “Trioline”, No. 5 “Flying past Ireland”. The self-explanatory names of plays 1 and 5 of the cycle send the listener to steady images, symbols of a romantic culture, in which the ball at the Satan’s was associated with the mythology of the Sabbath. As for the other three plays (Ostinato, Elegy and Trioline), their arrangement corresponds to three functions: “invasion of a foreign alien” (Ostinato), “meeting of two worlds” (Elegy) and “return of the alien” (“Trioline”). In the context of the whole cycle, the final piece, “Flying past Ireland”, is perceived as the final chord of evil spirits flying away. Thus, there is every reason to assert that the contours of the ballad genre in the Five Pieces for a String Orchestra by Pashkov are recognised at the level of a number of “reference genre points”. Firstly, in the depths of the subtext layer, the plot of the taboo ballad is hidden. Secondly, typical ballad motifs show through it. Thirdly, at the intonational-musical level, the main ballad characters are “read”. Finally, the compositional and dramatic organisation of the cycle has signs of a narrative ballad form: a prologue, a series of events enclosed in a triptych, and an epilogue. All of the above indicates that the genre of the romantic ballad is played out again in the works of modern composers. It was possible to identify the configuration of the genre signs of the ballad in the context of modern culture in the paradigm of cognitive poetics by restoring the archetypal ballad plot.