ХУДОЖНІЙ ПРОСТІР В УКРАЇНСЬКІЙ СОНОРИСТИЦІ (МУЗИЧНИЙ АВАНГАРД 1960-Х РОКІВ)

Abstract

The purpose of work. The article is devoted to the detection of spatial models in sonar compositions and means used in the music works of Ukrainian authors of the 1960s. Compositional innovations associated with changing worldview paradigms in the second half of the twentieth century, reflected in a dramatic change in vocabulary and musical syntax in need of research. The methodology is based on the application of interdisciplinary, systemic and intonational analyzes in the study of the stated problems. The scientific novelty is the attempt to specify the notion of space and artistic space in musical creativity and definition in music of Ukrainian authors of composite models that correspond to the latest concepts of world order. In the proposed problems, three concepts turned out to be combined at once, each of which is systemically important in the complex of problems associated with it – space, art space, sonoristics. An additional component that does not simplify the situation, but, on the contrary, strengthens the complexity of intersections and mutual influences between the designated paradigms, is a phenomenon of Ukrainian music of the 1960s. Сonclusions. The proposed aspectualization makes it possible to deepen the understanding of the essence of sonoristics as one of the fundamentally newest ways of compositional thinking, corresponding to the profound changes in the formation of a new vision of the world by a contemporary artist. Іndicate that the multidimensionality, conceptualism, variability of compositional logic are the qualities of the latest artistic thinking. The compression and thinning of the musical space by means of sonoristics form various conceptual configurations of the musical work, its various configurations such as singularity, detentes, a certain rhythm of pulsations, awareness of sound as a substance or substance, can acquire different meanings in the field of sonoric means – these qualities, like many others, become manifestations of new music paradigms as a way of artistic thinking. “Landscapes of hearing” (T. Adorno) are supplemented by new “landscapes” of the sound space of modern composition.