Music and Time Annotation << Back The Principles of the Formation of Chamber-Vocal cycles of L. Beethoven, F. Schubert, R. Schumann E.V. Sidorova The article is devoted to the artistic content of the outstanding samples of the chamber-vocal genre by L. Beethoven, F. Schubert, R. Schumann. The ways of developing expressive means and constructive solutions of the musical form of vocal cycles are traced. The author's typology of chamber-vocal compositions is presented. The music-themed content of the cycles, as a rule, is based on a literary-poetic basis. Chamber-vocal compositions, divided by character and semantic filling of poetic texts, have general principles of constructing a cyclic form: it contains figurative contrasts, thematic, tonal connections, similar composition-constructive models. At the same time, each cyclic work is unique, in each of them the composer chooses his own range of expressive means, and often new methods are invented to convey the emotional and psychological conditions of heroes, the subtlest shades in the development of human relations. In the domestic musicology chamber-vocal cycles are usually divided into two types: thematic and plot. On the basis of the analysis, in addition to the generally accepted types, a different type of composition has been revealed: plot-thematic, its characteristic features are given. In the comparative analysis of cycles, original unified forms of tables and diagrams are used that visually demonstrate the properties of various parameters of the musical fabric in each song separately and in a cyclic form as a whole. Keywords: chamber-vocal cycle, principles of form-building, Beethoven, Schubert, Schumann, typology, theme, plot, thematic connections, tonal plan, drama. Contacts: E-mail: evs268@mail.ru Pp. 03-10.