Innovations of Genre-Related Form in Karmella Tsepkolenko’s Piano Music

Abstract

The article is devoted to the innovations in the piano compositions of Karmella Tsepkolenko. The presentation of the present theme demonstrates the complex-dialogical character of the interrelations between the composer and artistic space in contemporary music, which requires a broad contextual approach upon analysis and study of the latter. By the example of Tsepkolenko’s children’s pieces and concert piano pieces, disclosure is made of the main parameters of innovations, such as artistic stimulation, the emotional-energetic context of the composition, the scenary development of the musical material, the principle of synthetic mastery of art, and theatricalization of non-theatrical musical genres. Scenary development (the composer’s expertise) becomes the foundation on which the theatricalized events in the piano pieces are unfolded. At the same time the eventful groundwork of the music does not wedge itself into the Procrustean bed of the traditional, historically developed forms and genres, but directs the composer’s thinking towards innovation, towards the creation of new forms and genres appropriate to the scenario. In the children’s pieces and in the concert piece the narrative unfolds according to the principle of “the theater of representation,” when the narration is stated from the third person. One of the manifestations of the “theater of representation” is the inner theatricalization, based on the dialogic relations between separate structural modules, thematic germs, juxtapositions both within each of the musical structures and between them. An important particularity of inner theatricalization is the presence of the element of play, bringing in the role principle into the development of the musical material, fi lling the composition with “images” of the protagonists. Outward theatricalization is also broadly used, and a special role in outward theatricalization belongs to plastic forms — these are gestures of the musicianactors, their behavioral roles. It is shown that the use of the principles of synthetic mastery of art, relying on the phenomenon of play in its inseparable integrality, theatricalization as the main principle of the unfolding of artistic form and scenary development of the musical material directs the composer towards the creation of new aesthetic models, activates the composer’s subconscious structures for the creation of semantic complexes which are new in their new in their form and content, and fi lls the musical composition with complex dialogic connections and play energy.