Abstract
The article focuses on studying music lexemes in Igor Severyanin's works as illustrated by his poetry collections. Given lexemes are quite frequent ones in this author's poetic texts which may indicate their semantic meaning, besides author's experiments in the field of word and music synthesis brought him closer to creation of new syncretic art at the meeting point of the two kinds mentioned above. In our work we pay particular attention to occasionalisms in musical theme in works of Igor Severyanin because these neologisms vividly reflect the specificity of the poet's idiolect. The purpose of the work is the study of music lexemes usage in Igor Severyanin's poems and their role in syncretic art creation. The importance of this research is determined by the need to study of Severyanin's works in strong connection with cultural features at the turn of the centuries. Scientific originality of this article is the fact that the problem of studying music lexemes as a part of syncretism of arts has never been brought up. Practical relevance of the work consists in the fact that this article can become the basis for the further study of music lexemes of other Igor Severyanin's poetry collections and the basis for creation of a dictionary of music lexemes of this author. Also the materials of our work can be used in general courses on Russian Literature of the early 20th century, in special courses and special seminars and at school while studying Russian Literature of the early 20th century.
Keywords
Igor Severyanin, lexis, fiction language, idiolect, occasionalism, reed-pipe, music, syncretism of arts.