Style evolution of Sting’s creativity

Abstract

The purpose of this article is to outline the evolutionary vector of the style evolution of G. M. T. Sumner’s (Sting) creativity.
 The methodology. The study is based on the comprehensive use of systematic, historical and cultural approaches, as well as methods of periodization and genre-style analysis.
 The results. The article analyzes the work of one of the recognized masters of world popular music — English musician G. M. T. Sumner, better known by the stage name Sting.
 The topicality of the chosen topic is due to the artistic and socio-cultural significance and genre and stylistic diversity of Sting’s creative work, which in the research space of modern musicology still remain poorly understood.
 The article considers the preconditions for the formation of Sting’s authorial style, reveals the key stylistic trends that shaped his individual authorial style, and highlights the personal and professional-artistic criteria of his creative activity. Embodying in one person the guise of a composer, poet, singer, guitarist and actor, G. M. T. Sumner (Sting) is a shining example of a modern universal artist. He illustrates by his own example typical genre-style metamorphoses of mass music of the late XX — early XXI century, revealing new paradigms of modern world music art.
 The stylistic evolution of Sting’s creativity is substantiated in accordance with the proposed concept of periodization of his creative activity. The main periods of the artist’s creative activity are outlined: 1) early (1977–1990); 2) mature (1991–2012) and 3) late (since 2013). The stylistic priorities inherent in each of these periods are described. The uniqueness and originality of Sting’s authorial artistic style lies in the peculiarity of his artistic thinking, which to some extent is based on the concept of stylistic pluralism.
 The stylistic evolution of Sting’s works represents his appeal to various stylistic models of modern mass music (rock, jazz, pop, reggae). At the same time, the artist’s stylistic search goes far beyond popular music, extending to the spheres of academic and ethnic musical traditions.
 The scientific novelty of this article is that this study for the first time reveals the stylistic evolution of Sting’s works, its periodization and identifies the main stages, identifies the leading genre and style features of the artist’s works and the characteristics of his artistic thinking.
 The practical significance of the article lies in the possibility of using its materials and conclusions in further research on this issue, in performing and pedagogical practice (in the courses “Music of the XX century”, “History and theory of modern music”, “History of rock music”, etc.).