Abstract

 
 
 This article is devoted to the historiography of the Ukrainian string quartet. The article presents a detailed description of three musical and artistic ideas of the quartet genre – “timbre and coloristic, “virtuoso technical” and “semantic”. The author presents the examples of implementing these three musical and artistic ideas in the works of composers of different eras and national school. It is emphasized that the nature of the string quartet is revealed at the intersection of global categories of genre and style in music, which are adapted through corresponding traditions of art. These categories can be divided into historical, inherent in different schools, as well as “personal”, individual. The author of the article identifies three main stages of the quartet genre formation in Ukraine: “neoclassical”, “neo-folklore” and “polystylistic” and characterizes their main tendencies. The time frames of these three stages are outlined comparing to the development stages of the quartet genre in Europe. The article contains the examples of reproducing the basic tendencies of the quartet writing style as well as the technical means of performing practice, which appeared to be dominant in this or that period of time. The most striking examples of quartet pieces from the point of view of genre, epoch and national stylistics are analyzed.
 
 
Highlights
This article is devoted to the historiography of the Ukrainian string quartet
The timbre and coloristic idea of the quartet genre Based on the study of young Ukrainian scholars, three musical and artistic ideas of the quartet genre can be singled out
The intense involvement of the memory genre in the quartet style shows a retrospective direction in its stylistics, which left its imprint on the writing techniques and the form of music pieces
Summary
This article is devoted to the historiography of the Ukrainian string quartet. The article presents a detailed description of three musical and artistic ideas of the quartet genre – “timbre and coloristic, “virtuoso technical” and “semantic”. According to the author of this paper herself, they serve only as “rods” around which other examples of music works created the string quartet during that period are grouped together, though these examples may have some adjustments to national, regional, chronological peculiarities (Kosenko, 2018). Borovik (1979), this general tendency is divided by the set of the genre and stylistic features into the following types: Scriabin and Impressionist style
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