Odessa Piano School in Ukrainian Art ХХ – ХХІ Century Cover Image

Одеська фортепіанна школа в українському мистецтві ХХ – ХХІ століть
Odessa Piano School in Ukrainian Art ХХ – ХХІ Century

Author(s): Lilia Mykhaylivna Shevchenko
Subject(s): Music, Recent History (1900 till today), School education, History of Education, History of Art
Published by: Національна академія керівних кадрів культури і мистецтв
Keywords: Odessa piano school; regional culture; regional style cut in national art; Ukrainian art; style in music;

Summary/Abstract: The Purpose of the research is аccеntuation of particularities relationship and differences to piano style in Odessa in music of the Ukraine, with provision for significant discriminating devil of the cultural typology of the city on his dug in cultural disposition of the country. The methodological basis of the research is the intonational musicological approach of the school of B. Asafiev [2] in Ukraine [1, 4], the content of which is determined by the linguistic interpretation of musical meanings, including the analytical-structural and stylistic-comparative methods with pronounced hermeneutical-interpretative weights constituted the subject of special development in the concept of B. Yavorsky [4]. Scientific novelty of the study is defined by handhold to original theoretical idea of specifics of the cultural South in apportioment of ukrainian art, as well as that that for the first time in specified forshortening are analysed making the row authors in Odessa, including V.Maliszewski, K.Korchmarev, K.Dankevich etc. Conclusions. The Wealth of the aristocratic culture of the Odessa and recognition her аrtistic salon have formed ground an piano modernist style, which has conditioned the confession, overtaking european and world success, such artist as A.Skryabin, composer and pianist, as well as composer K.Szymanowski. And this line in piano modernist style objective ate Chopin-Mozart headwaters, forming style-conceptionto alternative of academic art to legal successor piano Beethoven style. Both lines of piano selfconfirmation of Odessa are obliged confidence to "winds of the change", which came to light in observance of the academic alignment on Beethoven and in manifestations of the fascination аntiаcаdеmic art legal successor salon style of Skryabin. Corresponding to pedagogical and performance election composition named majestic representatives in innovatory thinkings in XIX and XX century, Beethoven and Skryabin, have dictated the pages an analysis making the named authors, presence composition which in piano repertoire has formed the sign an accesories to high tradition art South Palmire.