SEMANTIC FEATURES OF UKRAINIAN LULLABIES

Abstract

The article analyzes Ukrainian lullabies, which are the way of interaction between a performer and a child by means of influencing the sensory system of the baby. Using the theory of D. Grinder and R. Bandler, the linguistic (discrete) map of lullabies is characterized and it is determined that the images in lullabies are presented in visual, auditory, kinesthetic, olfactory, gustatory representative systems. The greatest influence of the performer on the listener is through kinesthetic and visual systems. It is researched that many songs are characterized by monotony and rhythmic melody of lullabies, which coincide with systematically repeated lines. Repetitions make texts clearer, simplify their perception. Some lullabies are built in the way that each line is repeated two or more times. Exclamations “luli”, “bayu-bayu” are most often heard several times. They take the form of clichés and are duplicated in many songs. The calming effect of lullabies lies in monotonous melody and simplicity of content (which is realized through many repetitions). It is determined that some lullabies have a motif of conjuration, which are sometimes realized in the reception of parallelism. It is concluded that in songs for the night the child’s life is modeled in vivid figurative descriptions, the image of the ideal child as assistant is projected. It is found that Ukrainian songs for children are performed individually, so many lyrics have male or female names. A separate type of lullabies is characterized, those in which the cartoon technique is used. Several lullabies-curses are also analyzed. It is determined that some lullabies have a narrative nature, like fairy tales at night. These are simple stories in a form of a song.