Abstract

The purpose of the article is to focus on the features of theUkrainian choral miniature genre and to identify the main aspects of theirimplementation in choral works by V. Stetsenko. The article deals with thestyle of writing of choral miniatures of the composer, influenced by thetraditions coming from M. Lysenko, K. Stetsenko, M. Leontovich. Themethods of the research are based on historical-typological, genre,stylistic and functional methods of analysis. The structurally analytical investigative method have had weighty significance into process theregularization of scientific material and improvement of the conclusions.The comparative method was applied by author for profound formation ofthe results concerning the scientific studying of series compositions inreference to the choir miniature genre. The performing analysis of choralmasterpieces is also employed by writer in the process of the researchwork. The scientific novelty of the article is the circulation and analysis ofchoral works by V. Stetsenko, which are first studied in musicology; inrevealing the specifics of linguistic means, compositional features and theformation of choral miniatures. Conclusions. Proceeding from thepeculiarities of the figurative content of texts used in miniatures as theprimary source, V. Stetsenko uses a whole complex of intonations thatreproduce the musical-intonational populist basis. One of the ways ofconstructing works is a combination of harmonic and polyphonic tools inthe choral text. The verse is complemented by the introduction and thecode. The analysis of choral miniatures of folk type by V. Stetsenkoshowed their interconnection with the traditions of Ukrainian folk-danceculture.In this case, the composer does not seek to use genuine folkmelodies, but uses the method of stylization of song folklore, taking as itsbasis the basic intonational, fashion, texture features.

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