THE USA SAXOPHONE SCHOOL IN STANDARD STYLE QUALITY AND THE COMPOSITION OF PHIL WOODS

Abstract

The purpose of the work: to trace in the Sonata for saxophone and piano by Phil Woods the signs of a stylistic connection with his fellow musicians and the epochal stylistic signs of the post-avant-garde artistic life. The methodological basis of the study is the intonation approach of the B. school. Asafyev in Ukraine, as he is presented in the works of D. Androsova, Z. Burkatskyi, M. Krupeya, O. Markova with emphasis on stylistic comparative and hermeneutic perspective of interpretation of musical intonation. The scientific novelty is determined by the fact that for the first time in Ukrainian musicology, the problem of the stylistic specificity of the American post-avant-garde is posed, and the work of F. Woods in the perspective of the saxophone refraction of the named stylistic stratum. Conclusions. An overview of the creative heritage of F. Woods in the context of the development of American music of the 20th century and the analysis of his “Sonata for al saxophone and piano” leads to an understanding of Woods as the embodiment of the border between applied and artistically selfsufficient music. The key to this was his performance, basically, within the “third row” of the jazz game. All of this is manifested in the “Sonata for alto saxophone and piano”, which demonstrates a kind of borderline: jazzy jazz with an outlet for improvisation, but all within the sonata structure. Its four-part composition with features of a sonata-suite leads to a baroque concert. And the deep stylistic “mosaic” corresponds to the stylistic principles of the post-avant-garde with pronounced “neo-symbolist” (according to O. Markova) coloring.