БАГАТЕЛЬ ЯК МАЛА МУЗИЧНА ФОРМА В СУЧАСНІЙ ДОСЛІДНИЦЬКІЙ РЕФЛЕКСІЇ

Abstract

The purpose of the article is to define the principles of genre transformations of bagatelles in the contemporary composer’s creativity (on the example of V. Silvestrov’s and N. Kapustin’s bagatelles) in the context of the theoretical reception of small musical forms. The methodology of the research is based on the principle of transdisciplinarity. The author uses both the musicological approaches and the philosophical grounds for the analysis of small musical forms. The article affirms the importance of the basic cultural and philosophical universals: «big in small», the identity of the microcosm and the macrocosm, the unity of the minimum and maximum, the coincidence of opposites. Also it is applied a set of specific scientific methods: comparative analysis allows us to compare the general trends and unique features of the use of the bagatelle in the works of two outstanding composers V. Silvestrov and N. Kapustin. The historical and genetical method allows to investigate the genesis and development of the models for the theoretical reception of small musical forms and bagatelle. Scientific novelty: for the first time in Ukrainian musicology, it is summarized and preliminarily systematized the basic approaches to the analysis of bagatelles as a small musical form in the theoretical reception. Also for the first time it is represented a comparative analysis of the V. Silvestrov and N. Kapustin bagatelles. Conclusions: Bagatelle as a small musical form begins to take shape as an object of theoretical reflection only in the contemporary musicology. The characteristics of bagatelles are highlighted: cyclicity, attention to detail, technical excellence, demonstration of mastery, aphoristic tendency. It is established that the general philosophical and aesthetic principle, peculiar kind of bagatelle’s ontology is «big in small». The analysis of the bagatelles of V. Silvestrov and N. Kapustin allows to explicate two types of transformation of this small musical form. For V. Silvestrov bagatelle became the master concept, the universal cosmic form of expression, the basis for constructing of the «Cycle of cycles», which absorbed the compositional experience of avant-garde music. Contrary to this N. Kapustin does not theorize the bagatelle. He uses bagatelle as a convenient form of expression of the modern composer’s language, improvisational techniques, jazz harmony in unity with the traditional form of the cycle.