Stylistic Features of Olena Chmut’s Harmonic Thinking (Based on Original Choral Compositions)

Abstract

Selected choral works by the Bukovinian composer Olena Chmut are examined, representing the principal directions of her creative output — original choral compositions. The study characterizes the features of the composer’s harmonic language, her stylistic markers, and the specificity of her artistic thinking are described, with particular attention to the interaction between tradition and innovative approaches. The discussion is based on a detailed harmonic analysis of original compositions, including the choral miniature Vesniane (“Spring Song”) and the diptych on texts by Ivan Franko, Do Not Forget and Your Eyes. The harmonic language and polyphonic devices are analyzed within the context of dramaturgy and form-building processes that determine the features of free through-composed development of thematic material. In the folk-song arrangements, the predominance of the principle of harmonic variation is identified as one of the leading methods of musical development. It is established that Olena Chmut’s harmonic language is characterized by active explorations in the sphere of sonority, chromaticization, the complication of both vertical and horizontal structures, poly-chordal textures, chords saturated with alterations and substitute tones, extensive doublings, as well as textural embodiments of multi-sonorous structures. The study reveals the use of multi-voiced altered chordal verticalities associated with jazz stylistics and the composer’s masterful application of polyphonic techniques. Special attention is paid to the interaction of harmony with other musical expressive means in close connection with the imaginative content of the poetic text, ensuring the organic integrity of the choral scores. The research demonstrates that the analyzed compositions represent vivid examples of contemporary Ukrainian choral music, in which traditional harmonization techniques are combined with innovative approaches reflective of modern compositional thinking. The findings may be used in further studies of choral arranging and harmonization methods, in examining the genre-stylistic specificity of modern choral writing, as well as in identifying current developmental trends in Ukrainian choral music.