КАТЕГОРІЯ ПРОСТОТИ ЯК ХУДОЖНЯ ІНТЕНЦІЯ ІНДИВІДУАЛЬНО-СТИЛЬОВИХ КОНЦЕПЦІЙ «НОВОЇ ПРОСТОТИ» У ТВОРЧОСТІ СУЧАСНИХ КОМПОЗИТОРІВ
CATEGORY OF SIMPLICITY IS AN ARTIST INTENTION AND INDIVIDUAL-STYLE CONCEPTS "NEW SIMPLICITY" IN THE CREATIVITY OF CONTEMPORARY COMPOSERS

Summary/Abstract: The purpose of the article is to determine the specifics of stylistic manifestations of the "new simplicity" in the works of contemporary composers in accordance with the meaning of the category of simplicity. The methodology is based on the integrated use of systemic and structural-functional methods, comparative studies, music-historical approach, as well as musicological methods of genre-style analysis. The scientific novelty of the study is due to the theoretical development of genre and style standards of "new simplicity" in terms of their systematic interaction and individual-composer interpretations. Conclusions. The main factor in the formation of a new stylistic vector of composition in the last third of the twentieth century, which was formally defined as "new simplicity", was the recognition of the crisis of musical art, which developed within the avant-garde artistic and aesthetic paradigm. The conceptual foundations of individual composer's versions of the "new simplicity" are connected with the idea of simplifying musical language as the direction of development of musical art, which was called to return music to lost meanings – beauty, clarity, harmony. The concept of simplicity in this context has become one that combines these leading artistic landmarks and acquired in the creative consciousness of composers-representatives of the "new simplicity" the status of aesthetic and ethical categories, which acted as a common artistic intention of various compositional versions of "simple" style. Simplicity as an objective condition for the clarity of musical meaning has led to specific types of figurative content of a musical work and its compositional logic. The melodiousness and clarity of musical expression are the semantic impulses of the composer's work to which all the structural elements of the musical text and the "levers" of sound influence on the listener are subordinated.

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