ВІЗУАЛІЗАЦІЯ ОБРАЗІВ І ВИДОВИЩНІСТЬ У МУЗИЧНИХ ЖАНРАХ

The purpose of the article is to analyse the visual component in the musical genre (songs) and musical-theatrical genre (ballet), which is an element for the formation of spectacle. The work methodology includes analytical, structural-functional, generalising scientific methods; techniques of comparative analysis to reveal the specifics of modern artistic practices in revealing the specifics of the visual as a component of spectacle. The scientific novelty of the work consists in the analysis of the song ―Smerekova Khata‖, the musical and stage performance of the ―Gerdan‖ theatre, the ballet ―Signs‖ with the determination of the visualisation of the images laid down by the authors to form the spectacle. Conclusions. Based on the analysis of M. Bakay and P. Dvorskyi's song ―Smerekova Khata‖, the dependence of visualisation in musical-poetic composition and music, metaphoricity in musical-poetic images in various performing interpretations with a certain amount of spectacularity according to the definition of ―spectacularity‖ in the dictionary of Efron and Brockhaus is determined as a concert, performance. The analysis of the concert performance of the Chernivtsi City Folklore Theatre-Studio ―Gherdan‖ based on the musical and textual material, stage design and costumes of the performers made it possible to reveal the degree of visualisation of musical and stage images that contribute to spectacle in art according to K. Stanislavska's concept as a spectacle with an artistic structure, which is a system of means of expression with external manifestations. The French-American dancer-choreographer Carolyn Carlson's ballet ―Signes‖ (1997, Paris Opera) with scenery by the French artist Olivier Debre and electronic music by the French composer René Aubry fully meets all the parameters of spectacle: a) unusual events that appeal to history with famous heroes Leonardo da Vinci and Gioconda with her outstanding smile; b) entertainment in the presentation of material with the use of three-dimensional pictures that are constantly moving; c) seven different locations; d) lack of verbal text (words), which are compensated by electronic music and choreographic movements. [ABSTRACT FROM AUTHOR]