Intersemiosis in the musical work of sound producer Yevgen Filatov

Abstract

The article is dedicated to the study of intersemiotic processes in the musical creativity of contemporary sound producer Yevhen Filatov, based on the case of the project “How Ukraine Sounds”. The musical compositions of the programme demonstrate how environmental sounds are transformed and integrated into a musical work, acquiring new aesthetic and cultural significance. The aim of the study is to identify the mechanisms of intersemiotic transformation of natural and everyday sounds into musical compositions, as well as to determine the role of the sound producer as a practical semiotician operating across different sign systems to create polysemiotic works. For the first time, the specificity of the use of double coding in contemporary audio culture is examined, using the example of the musical interpretation of urban soundscapes in Ukraine. This is manifested in the combination of documented field recordings and their formation into cohesive musical compositions that convey the sonic image of a city. It is demonstrated that intersemiotic processes in the project «How Ukraine Sounds» are realised through the congruent interaction of audio and visual codes, which together form a new creative reality and generate a multilayered emotional and semantic space. Special attention is paid to the transformation of environmental sounds (noises) into musical elements, where sound acquires the status of a sign with its own semantics within the structure of the composition. An intersemiotic analysis of the musical compositions has been carried out. The study explores the dual meanings of recorded sounds, combined into a cohesive composition from the perspectives of musicality, emotionality, and cultural value. The results of the research indicate that intersemiotic thinking in music represents a promising direction for the development of contemporary sound production and requires further exploration of the mechanisms behind the formation of audio images based on sound realities. The article outlines new opportunities for the practical application of intersemiotic strategies in musical art and expands the understanding of the sound producer’s role as a cultural mediator in the digital age.