Programmatic piano works by Ukrainian composers in the space of spiritual search in the boundaries of the 20th – 21th centuries

Section 2. Dynamics of Search and Transformations in the Musical and Cultural Space of the 20th and

Abstract

Statement of the problem. Programmatic piano music as a component of the contemporary national space of musical art resonates with the spiritual quest of the era expressed in the renewal of the sound image of the instrument, its semantic and expressive horizons, in the transformation of genre and style guidelines and the presentation of multidirectional modes of comprehending the human spiritual values. The attention of scolars to the specifics of the contemporary programmatic music including the piano music is evidenced by the scientific works (K. Fizer, O. Frait, N. Zymohliad, N. Revenko, A. Rumiantseva, P. Rud and others). However, the permanence and innovation of authors’ searches in the field of the programmatic piano music, as well as the lack of research in its specificity in the context of the composer’s creative worlds, as well as its importance in the process of forming the performers creative personality, determine the openness of this problem area and the relevance of the article. Objectives, methods, and novelty of the research. The purpose of the study is to identify the leading figurative and semantic, genre and style intensions of contemporary Ukrainian piano programmatic music. The novelty of the article is to substantiate the figurative and semantic, genre and style dimensions of programmatic music by contemporary Ukrainian authors as embodiments of the worldview orientation of postmodernism. Methodological basis of the article includes a comparative principle, the cultural approach, genre and style analysis, as well as synthesis of the results of analysis and observations.

Research results and conclusion. The panorama of contemporary Ukrainian piano programmatic music is marked by the creative thinking, which reflect the multidirectional comprehension of the essence and significance of axiological constructs of existence of a modern personality and the tendencies of genre and style individualization. The works by V. Ptushkin, V. Poliova, I. Shcherbakov appeal to the highest spiritual values through the prism of inter-textual signs, sacred principles, and the eternally relevant concepts of Love and Death. In the aura of cross-cultural dialogue and stylistic pluralism, piano programmatic music is represented in the works by S. Luniov and S. Zazhytko; the tendency of sound emancipation as a self-sufficient carrier of meaning is captured by Z. Almashi’s works. The parody and ironic intensions in Ukrainian piano programmatic music, which resonate with the postmodern revision of axiological foundations, are manifested in peculiar “masks-simulacra” of the academic tradition. In the works by Z. Almashi, V. Runchak, S. Zazhytko, the high status of academic art is destructed through the prism of irony at the verbal, intonation, tonal and harmonic, time and space (“chronotop”), texture and performance levels, which becomes an impetus for intensifying the personal search for spiritual foundations.