П’ЄСИ ДЛЯ ГОЛОСУ Й ФОРТЕПІАНО В.ВЛАСОВА У ВИЯВЛЕННІ ТИПОЛОГІЙ МИСТЕЦТВА ПОСТАВАНГАРДУ
PLAYS FOR VOICE AND PIANOFORTE V.VLASOV IN DISCOVERY OF TYPOLOGY TO ART OF POST AVANT-GARDE

Summary/Abstract: The purpose of the article is a realization of the cultural stimulus that or the other work of V.Vlasov - in this instance, this composition for voice and piano on poetry T.Shevchenko and the text of the talented representative of artistic Odessa R. Brodavko. The methodology of the study - a historian-cомpаrаtive approach, as this demonstrates works of A.Losev, also culturology foreshortening of musicology analysis, as this is given in "Symphonic etude" and others beside B.Asafiev. The scientific novelty of the work is conditioned, first, that for the first time in specified foreshortening is presented analysis composition of V.Vlasov, but, secondly, original is a theoretical idea about cultural intrusion in style-typology life length Neo-Gothic that impossible was in classicist of music creative activity to XIX-XX cent. Conclusions. Today, the talented artist Professor V. Vlasov, a teacher, performer, and highly gifted composer of Odessa, has an essential place in the cultural process of our country. His works, more often for instrumental composition, are gladly performed by specialists and amateurs, generously published and published in the states of residence of the Slavic peoples, since their composed melodies, sketches, musical essays, and detailed authorial compositions always respond not only to the "call of the time" not only the epochal mark of thinking but also the internal delineation of the day and the moment of today. In the polystylistic ocean of artistic pursuits of the post-guard, the last decades are distinguished, in which these interstylistic tests are increasingly turning to the "trivialities" of the popular sphere and antiquity - in the context of requests for artistic and self-sufficient art. The compositions of V.Vlasov, which high gifts guarantee the keen perception to him of "ideas of time", certify approach him to "typology eclectic" to post avant-garde, in which demonstration of folklorism (work on poetry of T.Shevchenko) it is found beside with symbolism sensation to vicinity to chaste lyric poet of the Orient and European Gothic: sign bar-forms in cycle on verse R. Brodavko. As a whole specified compositions personify that type of instrumental vocal (that requires the border with operatic of the madrigal manner of singing), which is accepted, with timeses K.Debussi and N.Leontovich, name "play for voice and piano"; but this naturally for "nеоsymbolism" (on E.Markova) in pоstvanguard style of 1970-ly - 2010-ly years.

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