Implementation of the meaning-formimg and organizing functions of the texture in the piano works of modern Ukrainian composers

Abstract

Statement of the problem. Recent research and publications. Today the texture of a music work is not only a marker of an epochal style, but also, more than ever, of an individual style. Studying the principles of textural organization, understanding the specifics of the action of textural functions gives the performer the keys to deciphering the artistic intent of the work, the system of the composer’s style and finding the corresponding performance techniques. And in the conditions of the complex genre system of modern music, the texture is able to carry out the function of an interpretative guide to the heart of the composer’s idea, the author’s concept. The scientific works by such musicologists as H. Vinohradov (1977), I. Denysenko (2010), H. Ihnatchenko (1984), R. Kashyrtsev (2021), V. Moskalenko, V. Prykhodko (1997), H. Savchenko (2023), I. Tsurkanenko (1998), M. Chernyavska (2015a; 2015b), S. Shyp (1998), S. Shkoliarenko (2017) are devoted to the study of musical texture. A panoramic understanding of the development vectors of the doctrine of texture in the works of Ukrainian scientists can be found in the article by O. Hnatyshyn (2015). Objectives, methods, and novelty of the research. The purpose of the article is to reveal the ways of realizing the meaning-forming function of the texture based on the analysis of piano works by modern Ukrainian composers: Serhii Piliutykov’s “Fairy Tale” and Zoltan Almashi’s “Elegy”. The stylistic, genre, systematic and functional methods of researching are used in the article. For the first time in Ukrainian musicology, the selected works are analyzed from the point of view of textural organization. Results and conclusion. The situation of the gap the connection between the genre and the texture actualizes the meaning-forming and organizing function of the texture. S. Piliutykov in “Fairy Tale” builds a meaningful multilayered structure horizontally and vertically, working with different stylistic thematic elements, thereby revealing the programmatic idea. As a result, a specific musical narrative is created, which is unfolded in the interaction of vertical and horizontal texture layers. In “Elegy” by Z. Almashi, the principles of textural organization chosen by the composer seem to push the boundaries of the genre, provide for a different timbre embodiment, and timbre-texture transformations become decisive in building the composition in time and space.