Поліхудожні проекти у виконавській творчості українських ансамблістів кінця ХХ – початку ХХІ століть
Poly-artistic projects in the performing art of Ukrainian ensemble musicians of the late ХХ and early ХХІ centuries

Summary/Abstract: The aim. The purpose of this article is to study poly-artistic performing projects in the semiological context of the formation of a new system of artistic communication in the chamber ensemble creativity of Ukraine at the end of the 20th and beginning of the 21st centuries. Methodology. Theoretical-musicological, semiotic, kinesics, hermeneutic methods of analysis have been applied. Scientific novelty. The study of poly-artistic performing projects indicates that in the involvement of cultural-hermeneutical problems, the semiotic aspect of organizing modern chamber compositions and modeling of concert-performing programs influences the formation of a new system of artistic communication. There is a transformation of the principles of intra- and externally-ensemble interaction in the context of the movement towards the inter-art universalism of the performing and interpreting skills and the strengthening of the director’s generating intentions of the ensemble creativity of Ukrainian chamber collectives. Conclusions. At the turn of the 20th and 21st centuries, Ukrainian ensembles take an increasingly active position in initiating the creation of their own conceptual environment through the development of aesthetic-semiotic platforms of musical performance projects. The analysis of the results of the director's intentions of the participants of ensemble collectives reveals the use of specific polyartistic techniques of organizing the space of artistic communication and cognitive mechanisms for determining its cultural meaning and functions, which leads to the appearance of art projects with universal semiotics. Their practical embodiment stimulates the evolution of the principles of intra- and externally-ensemble interaction and leads to the emergence of a type of universal interpreter with a high level of communicative-role mobility and artistic plasticity in the interstyle and inter-art plane of mastering various kinds of performing techniques and building intertextual and associative links between cultural, artistic phenomena and creative personalities of different historical and style epochs and art’s schools. Going beyond the scope of musical performance in polychological measurements of author's conceptual projects demonstrates the passionarity of Ukrainian ensemble musitians as creative personalities who «here and now» lay the semiological foundations for the formation of a new system of artistic communication in the context of the general aesthetic-hermeneutic concept of chamber performance of the present.

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