Ideology of sarmatism and its implementation in Polish piano music of the XIX – XX centuries
Abstract
The purpose of the study is to identify the genre-stylistic specificity of the reproduction of the spiritual and ethical instructions of Sarmatism in Polish piano music of the XIX-XX centuries. The research methodology is based on the application of the following approaches: genre-stylistic, etymological, interdisciplinary, historical-cultural, which reveal the peculiarities of the reproduction of Sarmatian ideology in Polish piano music of the specified period. The scientific novelty of the article is determined by its analytical perspective, which takes into account the peculiarities of the reproduction of the Polish "Sarmatian" image of the world Polish piano (dance) music of the XIX-XX centuries. Conclusions. The Polish national "image of the world", which was historically formed on the basis of the noble ("Sarmatian") spiritual and ethical tradition, formed in the heyday of the Polish-Lithuanian Commonwealth, and appealed to such dominant qualities as pride, honour, knightly service, honouring the merits of the family, family patriarchal values and traditions in their high spiritual and religious sense, in many ways determined the specifics of Polish culture and the genre and style preferences of its musical art, focused on revealing the special significance of the song and dance tradition in its salon representation. The poetics of polonaise, mazurka, Krakowiak, thought and other genres related to it, corresponding to the spiritual and patriarchal traditions of Biedermeier in its Polish guise (“Warsaw Biedermeier”, “noble Biedermeier”), also determined the historical and evolutionary paths of development of Polish piano music of the 19th and early 20th centuries (F. Chopin, Z. Noskovskyi, V. Malyshevskyi, M. Karlovych, M. Zavadskyi, K. Szymanovskyi, L. Rogovskyi, A. Panufnik) and reproduction of the national "noble-Sarmatian" quality in it
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