Fine Artistic Meanings of Musical Terms in the Lyrics of I. L. Selvinsk

The lyrics of Selvinsky covers a wide range of topics and, at the same time, a number of large lexical layers, among which a particular attention is focused on musical terminology. In his lyrical verses of various years not only does he mention well-known musical genres, forms, or instruments, but also professional terms, such as pianissimo, trill, minor scale, nocturne, sonata, cadence, waltz, violin clef, scale, improviso, octave, prelude, cantilena, baritone, scherzo, pizzicato, flageolet, chorale, passage, triplet, semiquavers, bemolle, three forte, and c-sharp minor. Musical terms enrich the semantics of poetic allusions, metonymies, comparisons and metaphors. As to the depth of his knowledge about musical terms, Selvinsky's poetry is comparable to the works of B.L.Pasternak, though the artistic methods of two poets are quite different. The poetic world of Pasternak is established upon metaphorical links. Selvinsky, on the other hand, values direct meanings of musical terms, which are able to deepen the associations, provoked by the implied senses, contrasting of ideas, and dominant semantic ideas of his poetic works. The music terminology opens the ways of mastering the unusual themes and images for Selvinsky, as well as some new intricacies of poetic polysemy and lyrical expression.