The phenomenon of the intergenre dialogicality in chamber music of Ukrainian composers (late XX – early XXI centuries)

Abstract

The aim of this article is to study the phenomenon of intergenre dialogicality in chamber music of Ukrainian composers of the late XX – early XXI centuries. Methodology. In this study were used musicological, structural-semantic, comparative and textual methods in the analysis of genre and style parameters, artistic sphere, symbolic language of chamber music. The scientific novelty of the research is formulated in the following positions: identified the main trends of genres creation in the context of postmodern technical and compositional practice; highlighted the typological genre innovation in Ukrainian chamber music; introduced the content of the phenomenon of genre interference in chamber music; justified the influence of the phenomenon of intergenre dialogicality on the process of forming a new hierarchy system of ensemble genres in Ukrainian chamber art. Conclusions. On the turn of the XX – XXI centuries the polystylistic search of musical art, combination of technical, compositional and expressive features of different kinds of arts were significantly affected on the process of genre creation. An analysis of typological genre innovation of chamber music by contemporary Ukrainian composers reveals the particular importance of the phenomenon of intergenre dialogicality in the process of genre creation, which is as follows: creating dialogical axis (complementary or antithetical character) by updating the monogenres of old tradition in terms of expressive possibilities of the modern style and musical instruments; reflection of the principle of free dialogue in the synthesis or interference the musical and extra-musical genre features in librogenres of new music without sustainable genre mark; appearance of the phenomenon of genre interference as an aspect of intergenre dialogicality in synergic integration of genre features of chamber and vocally-chamber or orchestral music, which leads to poligenres of hybrid structure; inclusion the chamber music in macrocycles – the general dialogical field of cultural-historical, stylistic and genre memory.