PARADOXES OF PIANO EXPRESSION OF TRADITIONALISM AND MODERNITY IN UKRAINE AND IN THE WORLD

Abstract

The purpose of this work is to understand the significance of the contributions of Ukrainian authors to the proto-traditionalism of the 19th and traditionalism of the 20th century, using the material of piano and piano compositions, in the historically proven stylistic and value detections of the epochal attributive compatibility of traditionalism and modern-avant-garde in art. The methodological basis of the work is based on hermeneutic and comparative cultural perspectives from the angles of the intonation approach of the B school. Asaf’ev in Ukraine, which is presented in the works of D. Androsova, O. Kozarenko, O. Markova, A. Sokolova, other eminent scientists. Also, the essential ideas of the cultural-historical school embodied by G. Wölflin, the cultural narrative of R. Bart. The leading research methods were: discursive, historical-comparative, art history-stylistic. Scientific novelty of the obtained results is that the proposed definition of essential features of the expressive semantics of prototraditionalism and traditionalism of the 19th – early 20th centuries in piano prolongation; developed an independent version of projections of ancient catharsis into the artistry of the piano works of Ukrainian composers, the paradoxical nature of the embodiment of artistry in them lies in the harmonious combination by folklorism and academic architecture of the German and French schools. Conclusions. Metaphoricality constituted an attribution of artistic thinking, a demonstration of a fundamentally different mechanism of connection, which was born from liturgicalmysterial actions of religious and religious purpose. Vygotsky’s musical projections of “catharsis” are interesting due to the direct reliance of musical architecture on the liturgical and church assets of musical academicism, to which the addition of themes and images taken from the national folklore tradition, even in the piano presentation of the “light” sound of an expressive quality, constitutes a capacious metaphor at its core , which combines very different semantic formations into the integrity of the cultural-conditional “second reality”. The effect of Shevchenko’s poetry, the genre-compositional indicators of which, taken from bardic poetics, encompass purely national-essential events and relationships, formed an objectively-historically powerful methodological basis for the work of Ukrainian artists – and musicians-composers in the first place.