Metaphysics of personal-creative synchronisations in music
Abstract
The purpose of this study is to trace metaphysical - supraphysical indicators of thinking in the parallels of expressive features that attest to belonging to epochally correlated layers of creativity of composers and performers, although they are in no way conditioned by personal contacts or communication with communities that could influence the creator-musician. The research methodology is determined by the intonational approach of B. Asafiev’s school in Ukraine with emphasis on its comparative and hermeneutic components, as found in the works of D. Androsova, O. Kozarenko, I. Kotlyarevskyi, I. Liashenko, Liu Bintsyan, O. Markova, O. Muravska, O. Roshchenko, O. Sokolova. The following methods are also of special use: art historical-analytical, descriptive-historical, cultural-regional, religious studies, and biographical-historical. The scientific novelty of the work is manifested: in the independent interpretation of the concept of parallel discoveries as the metaphysics of personal-creative synchronisations ("metaphysics of historical proximity"), in the originality of the perspective of the analysis of works and artifacts, as well as in the fact that for the first time in this perspective the parallels of creative discoveries of the 1960s are presented, verist features in F. Chopin's Songs, the invention of dodecaphony in the 20th century and other significant factors in the creative institutions of musical history. Conclusions. Tracing expressive analogies in the works of masters who belonged to the same epochal stratum of the historical evolution of music, and who, by the conditions of their existence, had no personal or creative-informational contacts, shows that, as a result of their creativity, they came to a commonality of expressive typologies at the level of style, genre, ideological, and creative features. This applies to the features of realism-verism in Chopin's Songs and some other works, reactionary to the ideas of "fathers and children" of the nineteenth-century Sixties, etc., which together testify to the "metaphysics of historical proximity", understood as personal and creative synchronicity produced by metaphysically superphysically realised contact with the information field produced by the epochal mentality of mankind.Key words: metaphysics of history, metaphysics of personal-creative synchronisation, musical expressiveness, style in music, style of the era, musical genre
Keywords
Suggested citation
Copy citationReferences
Show all references[1] Androsova, D.V. (2014). Symbolism and pоlyklavier type in piano performance art XX century. Odessa: Astroprint.
[2] Batanov, V. (2016). Universalism of composer personalities in music art XX – begin XXI century. (Candidate's thesis, Odesa, Odesa State Music Academy of the name A.V. Nezhdanova).
[3] Beaplan, de G.L. (2017). Description d’Vkranie, qvi sont plvsievrs Prouices du Royaume de Pologne. Contenves depvis les confins de la Moζcouie, iuζques aux limites de la Tranζilvanie, ensemble leurs mevrs, façons de viures de Guerre. Kyiv: FOP Stebelak.
[4] Vаléry Paul. (2023). Retrieved from zarlit.com/ biography/valeri.html.
[5] Demska-Trenbach, M. (2020). At the crossroads of European culture. Aesthetic ideas and passions of Ludomyr Mikhail Rohovsky. In Transformation of musical education and culture: tradition and modernity. Problems of generations and their cultural and artistic embodiments. Materials of the internation.scientific and creative intern.conference (pp. 81-90). Odesa: Astroprint.
[6] Zаlеssky, B. (2023). Retrieved from granat.wiki/enc/z/zalesskiy-bogdan.
[7] Ying, Q. (2023). Ukrainian roots of the expressiveness of F. Chopin's songs. West-East: culture and art heritage. It is dedicated to the memory of outstanding artists of Ukraine. To the anniversary of H.Skovoroda. Kyiv: Vydavnyctvo Lira-K.
[8] Liu, B. (2014). Music-history parallels of the development of the art to China and Europe. Odesa: Astroprint.
[9] Markova, E. Intonation type of music art. Kyiv: Musical Ukraine.
[10] Маrkоvа, Е. (1991). Intonation concept to histories of the music. (Doctoral thesis, Kyiv, National academy of the music of the name P.I.Chaikovskij).
[11] Мurаvskа, О. (2017). East-Christian paradigm of the european culture and music XVIII–XX century. Odesa: Astroprynt.
[12] Nаvоjevа, I. (2018). Ukrainian choral, vоcаl-ensemble creative activity in context style NeoGothic of post-pоstmоdern. (Candidate's thesis, Odesa, Odessa National Musical Academy name А.V. Nеzhdаnоva).
[13] Podobas, I. (2013). Mazurkas by Chopin in context of Warshawa biedermeier. (Candidate dissertation, Odessa, National musical academy name after A.V. Nezhdanova).
[14] S. Wіtwіćкі. (2023). Retrieved from Wikipedia,org/wiki/Stеfаn_Wіtwіćкі.
[15] Sokolova, A. The traditions of knightly-aristocratic culture to Britains-England and Rus-Ukraines. Odessa: Astroprint.
[16] Zhu, J. (2023). A new look at the program decorations of F. Chopin's First Ballade. WestEast: Culture and art heritage. It is dedicated to the memory of outstanding artists of Ukraine. To the anniversary of H.Skovoroda. Kyiv: Vydavnyctvo Lira-K.
[17] Shevchenko, L. (2019). Stile characters of Ukrainian piano culture in XX cetntury. Odesa: Astroprint.
[18] Chomiński, J. (1978). Chopin. Kraków: PWM.