Abstract

First Piano Concerto by Ivan Karabyts in terms of the renewal of concertо genre in Ukraine

Highlights

  • The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new10 2020 ■ Вип. 56 ■ Проблеми взаємодії мистецтва, педагогіки та теорії і практики освіти artistic and imaginative sphere, for new means of expressiveness, stylistics, form etc

  • The aspirations of young Ukrainian composers for concert genre renewal are realized through a rethinking of reality, intellectual and philosophical searching and psychologism in creativity

  • The objectives of this article is to identify the model of the First Piano Concerto as a typological structure in terms of the renewal of the concert genre in Ukraine in the 1960s, through the analysis of embodiment of stylistic patterns and intonational dramaturgy of the work

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Summary

Introduction

The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new10 2020 ■ Вип. 56 ■ Проблеми взаємодії мистецтва, педагогіки та теорії і практики освіти artistic and imaginative sphere, for new means of expressiveness, stylistics, form etc. The political and cultural movement of the “Sixtiers” in XX century opened wide horizons for Ukrainian composers to search for a new. The aspirations of young Ukrainian composers for concert genre renewal are realized through a rethinking of reality, intellectual and philosophical searching and psychologism in creativity. One of the brightest creative assets of this time is the First Piano Concerto by Ivan Karabyts, the talented Ukrainian composer, the outstanding representative of Ukrainian musical art of the last third of the 20th century. Among the studies of the last five years, and of all the scientific research of the 21st century, we, cannot find any scientific study devoted to one of the largest conceptual works of the early period of creativity by I. Karabyts, which is the First Piano Concerto, and, this research can be called a unique one in modern musicology. The author says about emotional tension and explosiveness that are the main features of the Concerto

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