Instrumental Theater in the Modern Ukrainian Composers’ Creativity

Abstract

Relevance of research. Instrumental theatre as a specific phenomenon of musical creativity was first recognized in the mid-1960s. Researchers note the following features of the instrumental theatre: the search for a new musical language; the presence of sound drama; appeal to the voice and the word as a background or semantic subtext; hidden polyphony; openness to protest and provocation; the stage game of the musicians-performers. However, this original artistic phenomenon remains little investigated in Ukrainian musicology. The purpose of the article is to actualize the samples of the instrumental theatre in Ukrainian musicology, presented in the works of L. Yurina, S. Zagitchka and S. Yarunsky, and based on the analysis of new works to conclude the directions of the development of contemporary musical thinking. Methods of the research – analytical, the complex of musicological methods’ research (based on the classification of works by the number of participants). Conclusions. Regardless of the genre variety, practically for all considered opuses, characteristic fixation in the scores of the smallest nuances of execution is common. Changing the paradigms of writing, performing and perceiving music, in many works the spectacular factor dominates over the actual musical, the increasing visualization and theatricalization of the musical process became evidence of the transformation of modern musical thinking. Practical significance. The instrumental theatre is a relatively new phenomenon both in world culture and in Ukrainian music. Further research of this phenomenon will help not only to distinguish its specific features, but also to realize new spiritual constants of the present.