A LARGE POLYPHONIC CYCLE IN THE PIANO WORKS OF UKRAINIAN COMPOSERS OF THE TWENTIETH AND EARLY TWENTY-FIRST CENTURIES: THE ISSUE OF INTEGRITY
A LARGE POLYPHONIC CYCLE IN THE PIANO WORKS OF UKRAINIAN COMPOSERS OF THE TWENTIETH AND EARLY TWENTY-FIRST CENTURIES: THE ISSUE OF INTEGRITY

Summary/Abstract: The relevance of this topic is related to the need to comprehend the processes of revival of the genre of the large polyphonic cycle in the musical art of the twentieth and early twenty-first centuries, where it acquires a high conceptual capacity. Its main direction of development, while preserving the compositional framework and semantic invariant of the structure, is defined as individualization through innovation, which finds expression in individual author's concepts of cycles. The research is aimed at studying the specifics of the compositional and dramaturgical integrity of a large polyphonic cycle, maximizing the coverage of the internal processes of its formation at different levels. The concept of a large polyphonic cycle, which is revealed as a compositional and dramatic integrity, is considered on the basis of piano works by Ukrainian composers of the twentieth and early twenty-first centuries (Vsevolod Zaderatsky, Alemdar Karamanov, Valentyn Bibik, Ihor Pyaskovsky, and Boryslav Stronko).

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