Symbolism of genre constructions in M. Roslavets by their origin in culture of symbolism
Abstract
The purpose of this article is to trace the specifics of the expressive trends of the twentieth-century modern-avant-garde in symbolism and to reveal the roots of primitivism-futurism in it, which were clearly evidenced by the foundations of the art of the "new youth" of the 1920s. The research methodologicay is based on the intonation approach of B. Asafiev’s school in the works of Ukrainian musicologists, including T. Verkina, O. Kozarenko, I. Liashenko, O. Markova, O. Sokol, O. Ryzhova, using research methods of comparative-stylistic, hermeneutical, biographical-descriptive, and analytical-typological. The scientific novelty of the work is manifested in the specificity of tracing the structural indicators of symbolism and its primitivist-futuristic branches, recognisable in the miniaturization of M. Roslavets' thinking on the example of his piano heritage. Conclusions. Roslavets' supercompressed miniatures are a natural reincarnation of the symbolist dematerialising thinking that gave symbolist works, including those of Debussy, the ability to go beyond artistic boundaries into life-transforming actions that transform the theatrical embodiment of the mystery into mystery as such. M. Roslavets's legacy deserves careful attention as an embodiment of theoretical abstraction in the artistic space, which corresponded to the establishments of a number of trends, contemporary developments of the composer-theorist (verismo-naturalism-socialist realism) and especially futurism with its neo-separateness of political and artistic activities. Roslavets's piano "superminiatures" constitute an intellectual declaration of the artist and citizen-actor.Key words: symbolism of expressive means of music, symbolism, primitivism, futurism, style in music, musical genre, pianistic style
Keywords
Suggested citation
Copy citationReferences
Show all references[1] Androsova, D. (2008). Minimalism in music. Scool appliances for universities of arts. Odessa, Astroprint.
[2] Androsova, D.V. (2014). Symbolism and pоlyklavier type in piano performance art XX century. Odessa, Astroprint.
[3] Demska-Trenbacz, M. (2020). At the crossroads of European culture. Aesthetic ideas and hobbies of Ludomir Michail Rogowski. In Transformation of musical education and culture: Tradition and modernity. Problems of generations and their cultural and artistic embodiments. Materials of the international scientific and creative internet conference (pp. 81-90). Odesa: Astroprint.
[4] Коzаrеnkо, О. (2000). The phenomenon of the Ukrainian national musical language. Lviv: Scientific Society named after T.G. Shevchenko.
[5] Koslowski, P. (1996). The culture of postmodernity. Kyiv: Vakler.
[6] Komenda, O. (2015). Creativity of M. Roslavets in the context of the formation of musical modernism. Lutsk.
[7] Luzhnyi, V. (2016). The polish style of modern -vanguard in context of the european music XX century. Magister.work. Odesa.
[8] Markova, E. (2012). The problem of music culturology. Odesa: Astroprint..
[9] Маrkоvа, Е. (2008). Symbolism and semantics of the national style in composition and performance. Musical Art and Culture, 9, 22-32.
[10] Nаvоjevа, I. (2018) Ukrainian choral, vоcаl-ensemble creative activity in context style NeoGothic of post-pоstmоdern. (Candidate's, Odesa, Odessa National Musical Academy name А.V.Nеzhdаnоva).
[11] Rоslаvеc Мykоlа Аndrіjоvych. (2023). Retrieved from https://uk.unionpedia.org/Rоslаvеc_Мykоlа_Аndrijоvych.
[12] Rоslаvеc Мykоlа Аndrіjоvych. (2023). Retrieved from https://uk.wikipedia.org//Rоslаvеc_Мykоlа_Аndrijоvych.
[13] Ryzhova, O. (2006). Ukrainian symbolism and piano legaci of B. Ljatoshynskiy. (PhD thesis, Odesa, Оdessa National Musical Academie named after А.V. Nеzhdаnоva).
[14] Shulgina, V., & Yakovlev, O. (2022). Intellectual biography as a genre-typological generalization. In Transformation of musical education and culture: Tradition and modernity in memory of the founders of musical cultural studies in Ukraine, professors I. Lyashenko, I. Kotlyarevskyi, O. Kostyuk, abstracts and materials of the international scientific creative conference (p. 235-237). Odesa: Astroprint.
[15] Lissa, Z. (1970). Studies on the works of Fryderyk Chopin. Kraków: PWM.
[16] Węcowski, J. (1999). Folklor religijny w utworach Chopina. Dzieło Chopina jako źródło inspiracji wykonawczych. Warszawa: Akademia muzyczna Fruderyka Chopina.