Аннотация
The symbolism of time finds a multifaceted reflection in musical art, as it covers various levels of a work’s structure and content. Due to its unique nature, the vocal cycle provides the composer with exceptional opportunities to reveal not only the dynamics of time but also the full richness of imagery and expressive means of musical language, which allows creating a cohesive and profound artistic impression. All of this, combined with Timur Mynbayev’s (1943-2011) vivid compositional individuality, is embodied in his vocal cycle “Life in Delusions”, based on the eponymous poem by Sultanmakhmut Toraighyrov (189301920). The aim of this study was to identify the features of temporal representation at different levels within the vocal cycle. Special attention is given to the musical means of expression through which the composer reveals the poet’s complex and contradictory attitude toward time, his desire to capture the moment while simultaneously acknowledging its relentless passage. The insufficient study of the phenomenon of time symbolism as a structural element in the musical texts of chamber-vocal cycles within the Kazakh composer school makes this research particularly relevant. Among the diverse research methods employed, the primary ones for this study included analytical, historical-cultural, semiotic, intonational, and comparative approaches. One of the most significant findings of this research is the identification of a close connection between the spatiotemporal categories of the cycle and the fundamental elements of the chronotope in nomadic culture. The implementation of a multi-level system of musical-expressive means used by the composer to represent time, including metric, structural, and timbral techniques, establishes a link between the cycle’s musical language and the cultural context in which it was created. The harmonious interaction of music and poetry brought the interpretation of time symbolism to a new level.