POLY-GENRES IN UKRAINIAN CHAMBER-INSTRUMENTAL MUSIC: TYPOLOGICAL ASPECTS
Journal Title: Вісник Національної академії керівних кадрів культури і мистецтв - Year 2017, Vol 1, Issue 2
Abstract
The purpose of the article is to study the poly-genre music phenomenon through the prism of genre interference using the example of the chamber-instrumental music by Ukrainian composers at the turn of the 20th – 21st centuries. Methodology. The integration of musical-cultural, genre-genetic, textological and structural-semantic analysis methods helps to explore the topic, and allows expanding the typological classification of genre models of the chamber-instrumental ensemble, taking into account its new hybrid invariants. Scientific novelty of this study is formulated in the following positions: for the first time the poly-genre music phenomenon was examined on the basis of the Ukrainian chamber-instrumental pieces of the late ХХ – early ХХІ centuries; the influence of the genre interference on the process of formation of the poly-genre aesthetic-semantic and structural integrity of musical compositions was characterized; the features of genre interference in the chamber-instrumental music pieces by contemporary Ukrainian composers were systematized; the boundaries of the functioning of the poly-genre concept in the postmodern Ukrainian chamber-instrumental art were specified. Conclusions. The analysis of quantitative and qualitative parameters of the genre structure of modern ensemble works of Ukrainian authors indicates to the dynamic processes of transformation of the organological structure of chamber-instrumental genres. Interference as a phenomenon of inter-genre dialogue and synthesis opens the way for the formation of poly-genres in chamber-instrumental music, when organological and aesthetic-semantic convergence of genres takes place both within the chamber-instrumental genus and outside it. In the course of the study, several types of genre interference were identified with an orientation toward a synergistic combination of adjacent or contrast genre features and functions in the following planes: intra-genre, generic and inter-generic. These hybrid modifications demonstrate a significant degree of relativity of innovative poly-structural and multifunctional genre models of the chamber-instrumental ensemble, the appearance of which in the genre and typological fund of Ukrainian music testifies to the processes of evolutionary technical and compositional development at a new historical stage of the genesis of the ensemble genre system in the cultural and artistic practice of the postmodern era.
Authors and Affiliations
Anastasia Kravchenko
Keywords
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