Composer’s “predictions”, embodied in figurative and symbolic content of “Lyrical scenes” by Ivan Karabyts
Abstract
The study highlighted the chamber-instrumental work of Ivan Karabyts, namely a piece for violin and piano “Lyrical scenes” in the context of the musical and social life of modern times. The analysed sample of the violin piece was infrequently featured in the repertoire of violinists, moreover, the cycle has not yet been studied. The study aimed to interpret the content, in all its images and symbolism, used by the composer in the work. The study primarily analysed not the typical comparison and identification of the artist’s compositional style with the work of the teacher, Borys Lyatoshinskyi, but a figurative and meaningful prediction of the socio-patriotic events of modern times, namely, the military actions in Ukraine, the rise of the conscious sincere patriotism, as well as an emphasis on the individual interpretation of symbolism and imagery in the analysed works. The study contained a subjectively substantiated scientific position regarding the figurative and symbolic content of the violin cycle of Ivan Karabyts, which was based on a performance-theoretical analysis and will become a promising subject of musicological discussions in the further spectrum of symbolism and imagery in the plane of the artist’s creativity. The study highlighted and substantiated a list of musical and expressive means, which were used to embody the main tragic-fatum idea of the violin cycle, despite the primary perception of the programme title of the “Lyrical scenes”. The obtained research results can be used in an educational course on the subject “History of Ukrainian music”, and “Performance interpretation” in the violin class and the “chamber ensemble” class. The practical value of this research lies in its direct relevance to the teaching of violin performance in the “violin” class
Keywords
Suggested citation
Copy citationReferences
Show all references[1] Ballantine, C. (1979). Charles Ives and the meaning of quotation in music. The Musical Quarterly, 65(2), 167-184.
[2] Balynska, O.M. (2013). The history of semiotics: From signs of things to social sign systems. Scientific Bulletin of the Lviv State University of Internal Affairs, 3, 409-418.
[3] Batovska, O.M., & Shapovalova, T.S. (2021). Vocal cycle “From songs of hiroshima” by Ivan Karabyts: Dialogue of cultures of East and West. Ukrainian Musicology, 47, 101-111. doi: 10.31318/0130-5298.2021.47.256739
[4] Beregova, O.M. (2015). Peculiarities of composer's style of Ivan Karabyts in the context of the tendencies of Ukrainian cultural development in the 60s-90s of the 20th century. Journal of the National Music Academy of Ukraine named after P.I. Tchaikovsky, 2, 46-62.
[5] Galuzevska, O.M. (2005). Dialogue of words and music in the collaboration of Ivan Karabyts and Borys Oliynyk. (Dissertation, Tchaikovsky National Music Academy of Ukraine, Kyiv, Ukraine).
[6] Hurkova, O.M. (2016). The work of I. Karabyts in the context of genre and stylistic tendencies in Ukrainian music of the last third of the 20th century. (Dissertation, Tchaikovsky National Music Academy of Ukraine, Kyiv, Ukraine).
[7] Ivanchenko, V. (2003). Image content of the Third Symphony of Ivan Karabyts (to the problem of content in non-programmatic instrumental works). Scientific Bulletin of the National Music Academy of Ukraine named after P.I. Tchaikovsky, 31, 162-168.
[8] Kapichina, O.O. (2012). Musical semiosis of the 20th century as an aesthetic phenomenon. (Dissertation, Volodymyr Dahl East Ukrainian National University, Luhansk, Ukraine).
[9] Karabyts Ivan Fedorovych. (2024). Ukrainian Musical World. Retrieved from https://musical-world.com.ua/artists/karabycz-ivan-fedorovych/.
[10] Karabyts, I. (2020). Lyrical scenes [Notes]: For violin and piano. Kyiv: KIM.
[11] Kazakova, O.M. (2013). Semiosphere as anthoropological and cultural phenomenon. Philosophical Horizons, 30, 126-132.
[12] Kharitonova, D.V. (2018). Symbolism of the worldview of I. Karabyts (on the example of Sonata for cello and piano No. 1). East European Scientific Journal, 9, 8-16.
[13] Kiyanovska L.O. (2015). The style of Ivan Karabyts. Journal of the National Music Academy of Ukraine named after P.I. Tchaikovsky, 2, 32-45.
[14] Kiyanovska, L.O. (2017). Garden of songs by Ivan Karabyts. Kyiv: Spirit and Letter.
[15] Kopelyuk, O.O. (2018). Piano work of Ivan Karabyts: Phenomenology of style. (Dissertation, Kharkiv National University of Arts named after I.P. Kotlyarevsky, Kharkiv, Ukraine).
[16] Kopytsia, M.D. (2003). Aura of memory. Scientific Bulletin of the National Music Academy of Ukraine named after P.I. Tchaikovsky, 31, 10-20.
[17] Kovalchuk, Yu.V. (2014). The sign as the main semiotic category (the sign model of Ch. Peir and F. de Saussure, three types of signs according to Ch. Peirce). Scientific Bulletin of the Lviv National University of Veterinary Medicine and Biotechnology named after S.Z. Gzhytskyi, 16(2), 262-266.
[18] Kushch, V.V. (2021). Song work of Ivan Karabyts. (Dissertation, National Academy of Culture and Arts Management, Kyiv, Ukraine).
[19] Markova, O. (2003). The works of Ivan Karabyts in the stylistic simultaneity of Ukrainian musical culture of the end of the 20th - beginning of the 21st century. Scientific Bulletin of the National Music Academy of Ukraine named after P.I. Tchaikovsky, 31, 70-76.
[20] Outstanding modern composer. (2024). Composer Ivan Karabyts. Retrieved from https://www.karabits.com/biography/.
[21] Povilioniene, R. (2013). Research on Čiurlionis’ autograph and dedication. Fuga in b: Structural and semantic analysis. In Mikalojus Konstantinas Čiurlionis (1875-1911): His time and our time (pp. 268-301). Vilnius: Lithuanian Academy of Music and Theatre.
[22] Yermakova, H. (1983). Ivan Karabyts. Kyiv: Music Ukraine.
[23] Zvarych, A. (2012). Semantic and semiotic research perspectives musical language. Problems of the Interaction of Art, Pedagogy and the Theory and Practice of Education, 42, 14-21.