Категорії жанру і стилю у контексті історіографічного дослідження музично-творчого процесу
Categories genre-style in the context of historiographical study musical creative process

Summary/Abstract: Article is devoted to the problem of genre – style as pair category of musicology. Material of the article is scientific research of the last for years, including, dissertation works. They allow to assert that all the questions about musical sense and music semantics are related to its genre nature. Musical senses form groups in existing genre borders and are adequate to them Therefore semantic determinations of music are included in the wide range of its genre determinations. The essential task of genre semantics and problem of programming becomes a substantial task in music. The latter opens up from the point of view of historical and compositional co-operation of synthetic and clear, transitional and autonomous genres in music. Co-operation dialogue definite interaction of genre-style in music is realized by composition decisions. The very intermediate link form serves as the key to the semantic riddles of music. Music as an art of the intoned sense and as a subject of intonation arises up, foremost, in the initially-applied genres. They become the basic carriers of stylish intonation that can advance as a prototype of much more later authorized composer intonation. History of composer work can be exposed as a dialogue of authorial "I" with that stylish contents of music, that gained a foothold in certain genre forms. A performing form becomes an important mediator in this dialogue. It needs to be determined as passing of temporal organization of the musical sounding to normative logic of spatially-texture coordinates of music. The article also reveals, that in music genre typification equals to a "sign". The very sounding is a basis of musical sign. Genre terms assist transformation of this sounding in to a language, as to create the necessary stereotypes of connection of intonation and socially important event of valuable relation too. Genres are more constant than styles by their role of semantic determinant of music. They create the final borders of contextual changes of musical sense. However in music, as well as in verbal arts, the fates of styles can seem to be more bright and important, than genres. They cover them, up and do not give to be considered in multiplicity of musical image of the genre performer role. Semantic typology of music is also more often perceived as a style. Strengthening of attention to musical nature genre is contributed by the actual musically-performing range of problems. It appears closely connected with the problem of performer out dialogue. The latter is a part of that conditional semantic dialogue that designates the higher aim of artistic action. At the same time a performer dialogue appears to be the most noticeable exterior and initial condition of musical art. It directs all next phases of dialogue influence of music. The study of performing means is needed for determination of pragmatic side of genre. It gives an opportunity to judge about the semantic functions of this genre, to call to the functional loading of performing stylistics. О. Filatova studies typological properties, nature and functions of performing dialogue in the context of chamber vocal cycle, lights up the phenomena of genre and performer dialogue in their mutual relationship, develops a concept about performing pragmatics and sets interrelation between pragmatics of genre and performing semantics at the level of stylistic analyses. О. Filatova considers that in connection with chamber vocal forms it is necessary to talk about the unfolded genre definition lyrics in music. Features of display lyrics in music are linked with the use of poetic word, id est with the synthesis of two kinds of art. The very music and poetry are the highest forms of lyrics. Category of genre – style become basic in the research of G. Zhuk about the phenomenon of performing professionalism. Performing professionalism means a certain code to composer's language. It also creates the additional factors of interrelation between genre and style aim of music. Concepts about a genre and style in research of G. Zhuk acquire significance of universals of the musical thinking. They are continuously related to genesis of musically-performing form. The works of V. Zaderatskiy, l. Kiyanovskoy, V. Moskalenko, confirm this idea too. The actual and effective criteria of genre-stylish processes going today in Ukrainian composer' work are revealed in the researches of I. Verbitskoy-Shokot. On their basis the author finds the phenomenon of world musical culture in work of the Ukrainian composers, suggests the new factors of systematic study of the Ukrainian musical art. The researcher singles out the genre form of "Ukrainian requiem" determines composer's individually-stylish features. Verbitska-Shokot creates the original approach to structure-functional conformity with the law of requiem determines, originality of composer interpretations of liturgical canon also, states the varieties of requiem in Ukraine nowadays. In the dissertation of О. Khaleeva on the example of the historical coming into being of one genre, that is west-European motet, all history of music is reflected. This dissertation is the example of musicology praceology. The significance of musical practice is proved to be an universal of culture. On the whole, development of categories of genre-style as a supporting analytical instrument of modern Ukrainian musical historiography allows to find their main application: – when the studying musical form; - the integrative approach to musical poetics; - while opening the processes of canonization and innovation of musical expression (text); – while determining the ways and facilities of musical symbolizing content; – at the exposure of constant and discrete properties of musical material; – studying the voice reality of music and written forms of its reflection.

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