K. Tsepkolenko’s “History of Heresy” in the Context of Current Trends in Contemporary Choral Creativity

Abstract

The purpose of this research is to present an analysis of K. Tsepkolenko's choral work as an example of a composition-destruction in the field of new sacred choral music. The tasks of the work are the identification of features of poetic-semantic, musical-expressive vectors of cantatas; leading artistic and stylistic approaches identifying; consideration of the author’s techniques and means of intonation-artistic speech; coverage of the genre concept of workdestruction, as a provocative direction in the field of new sacred choral music.The researh methodology are analytical, musicological, systemic, textual, and general scientific approaches.The scientific novelty of the research is that the original typology on the classification of works of new sacral choral music is offered in the research. The musical text of the choral work of K. Tsepkolenko was introduced into scientific circulation for the first time. New approaches to the artistic text analysis of contemporary choral works are proposed.Conclusions. K. Tsepkolenko’s “History of Heresy” is an original example of an individual author’s conception of the religious-sacred idea of Christianity, which is realized through denial/ destruction and recreates a unique semantic vector for the development of a musical-expressive complex of choral scores. There are no stable stylistic indicators of the non-sacral direction in the cantata, but the appeal to religious subjects “provokes” the composer and the listener to certain reflections of philosophical and musical-semantic character. The conceptual genre priorities of the composer become a symbol of the ideological ambivalence of the “new sacredness”.