REPERTOIRE POLICY AS A PROJECTION OF THE CONDUCTOR-CHOIRMASTER'S CREATIVE WORLDVIEW: METHODOLOGY FOR ANALYSING INDIVIDUAL PRIORITIES

Abstract

The article proposes a methodology for analysing the repertoire policy of a conductor-choirmaster as a projection of his creative worldview, aesthetic orientations, and stable cultural priorities. The relevance of the topic lies in the fact that repertoire in Ukrainian musicology is still most often interpreted either as a pedagogically expedient selection of works or as a result of institutional circumstances, whereas its structural recurrence, genre and stylistic dominants, and national-cultural accents make it possible to reconstruct the conductor's individual creative method. The purpose of the article is to develop a reproducible methodology for reading repertoire as a “map” of the conductor-choirmaster's individuality. The study combines parametric, diachronic, and interpretative approaches. The source base of the proposed method includes documented concert programmes, posters, booklets, audio and video recordings, scores with conducting markings, rehearsal plans, and materials on premieres, new arrangements, and commissioned works. The repertoire is coded according to four analytical blocks: genre-stylistic, national-cultural, recurrence/novelty, and interpretative. It is proved that only the combination of these blocks allows repertoire to be interpreted not as a random set of compositions but as an integral system of artistic choice. Three analytical scales are described: the macro-level of the seasonal profile, the meso-level of the dramaturgy of a particular programme, and the micro-level of correlating repertoire dominants with the invariants of the conductor's manner. As a minimum set of quantitative indicators, the article proposes: K1 – the index of national priority, K2 – the index of stylistic diversity, K3 – the recurrence indicator, and K4 – the novelty indicator. Their use does not replace musicological interpretation; rather, it provides it with an empirical basis by fixing the stability or variability of repertoire orientations over time. The scientific novelty of the article lies in operationalising the worldview dimension of the conductor-choirmaster's repertoire policy and in creating a methodology of “repertoire mapping” that combines the description of repertoire structure with the analysis of performance invariants. The practical value of the proposed model lies in the possibility of applying it to professional, educational, and amateur choirs, as well as in the prospects for comparative study of individual repertoire strategies in contemporary choral art.