Stylistic Paradoxes of the Discovery of the Ukrainian Mental Lyricism in Music Author's Creative Activity of the XIX-XX Centuries Cover Image

Stylistic Paradoxes of the Discovery of the Ukrainian Mental Lyricism in Music Author's Creative Activity of the XIX-XX Centuries

Author(s): Lilia Mykhaylivna Shevchenko
Subject(s): Music, Recent History (1900 till today), 19th Century
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: Ukrainian lyricism; stylistic paradoxes in piano demonstration of lyricism; musical author's creative activity; orchestral pianoforte; salon piano playing;

Summary/Abstract: Purpose of Research. The purpose of the research is to find out the intrinsically-stylistic contradictions in Ukrainian mental lyricism, which is determined by the naturalness of conservations tradition in salon piano play in Ukraine that are the basis of piano modernist style in music XX century. Methodology. The methodological basis of the study is the interdisciplinary reflective-stylistic cомparison and culturological-hermeneutic analysis of the music-artistic manifestations of creative activity, following the of positions of T. Adorno, A. Losev, studies of A.Sokol, E.Markova, O.Muravskaya and others. Scientific Novelty. The scientific novelty of the work is the theoretical independent point of view of the history foreshortening of the consideration of the artistic processes in epoch of the Romanticism. The author is the first in musicology who has chosen relationship of "antisymbolism" F. Chopin and T. Shevchenko, which directed the stylistic orientation of Ukrainian piano including, art, conditioning certain annihilation contrariety in tradition of the Romanticism and Modernist style in creative activity of the Ukrainian masters of XX century. Conclusions. The contradictions of the development of the piano thinking XIX century had a direct entailment in Ukraine. We can name among its representatives the following figures M. Lysenko, V. Puhalskiy, in Western Ukraine K. Mikuli. M. Lysenko andK. Mikuli were defined as the salon playing, whereas according to T. Leszetyckii, V.Puhalskiy belonged to the class of the "middle" comparatively salon and philharmonic type. Thereby, Ukrainian masters naturally kept of the bases of salon piano playing, than Russian ones and the followers of F.Liszt in Germany. They had a deep national sense estate culture. Finally, in XX century the piano technology of the Ukrainian gravitates to rebirth salon key type of piano sounding, which, on the strength of objective history circumstance, did not withstand orchestra type. It included the latter.

  • Issue Year: 1/2018
  • Issue No: 2
  • Page Range: 303-308
  • Page Count: 6
  • Language: Ukrainian