Transformation of modern musical thinking through the prism of Sergei Zazhytko’s creativity

Authors

DOI:

https://doi.org/10.31318/0130-5298.2017.43.0.131934

Keywords:

Ukrainian music, visualization, postmodernism, theater of absurd, musical absurdism, modern musical thinking

Abstract

The focus is on the transitional nature of the present civilization, the changing paradigms of the performance and perception of music, the gradual maturing of a new type of thinking in contemporary musical consciousness. There are such phenomena as the dominance of the spectacular factor over the actual musical in modern musical thinking, the increasing visualization of the musical process. The development of this trend provoked the emergence in Ukrainian music of the last decades of new genre varieties that had never been before – happenings, performances, role-playing games, musical-actionist actions. Some aspects of the transformation of contemporary musical thinking are revealed on the example of creativity of the Ukrainian composer of middle generation Sergei Zazhytko. The style of S. Zazhytko was formed under the influence of the idea of the synthesis of arts. The fascination with modern fine arts, literature, theater, cinema, and his own literary work contributed to the development of a certain synthetic form for expression in composer’s practice. The creativity of S. Zazhytko "fit" into the concept of Ukrainian musical postmodernism. In the article postmodern is considered as a philosophical trend and the type of outlook of contemporary artist. The fascination with the theater of the absurd, the aesthetics of the works of F. Kafka, E. Yonesko, S. Becket and S. Mrozhek turned out to be a coherent world outlook and creative principles of S. Zazhytko, who became the founder of musical absurdism in Ukrainian music. The processes of transformation of contemporary musical thinking are illustrated by the example of the review analysis of such works by S. Zazhytko as «Gersteker» for piano and character (1995), «For Samuel Beckett» for double bass and actor (1996), «More! ..» for baritone, clarinet (1996), «Zbigniew Batyuk» for singing actor, balloons and balloons (1998), «Recitative and aria of the shadow of father Nicholas Nechiporuk from the opera "Legends of the Nanalo-Jamaican District"(2010).

Author Biography

O. Beregova, Національна музична академія України імені П. І. Чай­ков­ського

Берегова Олена Миколаївна – доктор мистецтвознавства, професор, проректор з на­укової роботи Національної музичної академії України імені П. І. Чай­ков­ського (Київ).

References

Baxtin, M. Tvorchestvo Fransua Rable i narodnaya kul`tura srednevekov`ya i Renessansa [Francois Rabelais’s Creativity and the folk culture of the Middle Ages and the Renaissance]. Available at : http://www.bimad.ru/docs/bakhtin_rablai.pdf (Accessed: 16.09.2017).

Beregova, O. (1999). Postmodernism v ukrainskiy kamerniy musyci 80-90-h rokiv XX st. [Postmodernism in Ukrainian Chamber Music of 80-90s of the 20th Century]. Kyiv : NPBU, 141.

Beregova, O. (2000). Tendencii postmodernismu v kamernyh tvorah ukrainskyh komposytoriv 80-90-h rokiv XX st. [The tendencies of postmodernism in chamber works of Ukrainian composers 80-90-ies of the twentieth century]. Kyiv : NMAU im. P. I. Chajkovs`kogo, 197.

Herasymova-Persydsʹka, N. (1998). Nove v muzychnomu hronotopi kincya tysyacholittya. [New in the musical chronotop of the end of the millennium]. Ukrayinsʹke muzykoznavstvo, 28, 32–39.

Morozova, L. Konec vremeny [End of time]. Available at : www.paiberdin.org/issues/issue37_rus.html (Accessed: 16.09.2017).

Lunina, A. (2014). Serhij Zažytʹko: «Dlja mene smix – rič dosytʹ serjozna» [Sergei Zazhytko: “A laugh is a thing quite serious for me”]. Muzyka, 4, 28–33.

Petrov, V. (2014). Instrumentalnyi teatr XX veka: istoriya i teoriya zhanra [Instrumental theater of the XX century: history and theory of the genre]. Saratov. Available at : http://cheloveknauka.com/instrumentalnyy-teatr-xx-veka-istoriya-i-teoriya-zhanra (Accessed: 16.09.2017).

Solomonova, O. (2009). Tipologiya muzykalnoi parodii [Typology of musical parody]. Naukovyy visnyk Natsionalnoi musuchnoi akademii im. P. I. Tchaikovskogо, 80, 193–206.

Tukova, I. (2013). Nina Herasymova-Persydsʹka: «Muzyka, shcho zavzhdy zvuchyt’ navkolo nas…» [Nina Gerasymova-Persydska: "The music that always sounds around us ..."]. Muzyka, 2, 8–11.

Published

2017-11-27

Issue

Section

Композиторська творчість і виконавство