MENTAL INTENTIONS OF UKRAINIAN MODERN AND AVANT-GARDE AND THEIR IMPLEMENTATION IN THE MUSICAL WORK OF GALICIAN COMPOSERS OF THE THIRD HALF OF THE XX CENTURY

Abstract

The article highlights the socio-cultural conditionality of the formation of the style paradigms of modernity and avant-garde in the musical works of Galician composers of the third half of the twentieth century. The primary meaning of this predetermination was the worldview contradictions between the modalities of the “enlightenment-culturalist (P. Kulish) and ”nation-building (M. Drahomanov) paradigms, each of which established its own priorities for the formation of Ukraine's national statehood and the specific features of Ukrainian ethno-national identity as a mental archetype. However, while the former was initiated by the priorities of the ethnic form of identity (a fundamentally closed formation that distinguishes between “one's own” and “someone else's”), the latter was initiated by the national form of identity (a fundamentally open formation that relies on assimilating one's own cultural achievements in the direction of resonating with “one's own kind” in the context of world culture). Each of these forms of identity determined the “stylistic images” of the musical creativity of Galician composers of the third century. XX century: “post-Romantic” (choral works by composers of the Przemysl school and F. Kolessa; genre form of “Old Galician elegy”; сoncert activities of the “Prosvita”) and, in fact, modern and avant-garde (chamber and instrumental works by V. Barvinsky and N. Nyzhankivsky). The opposition of the two “images” clearly affected the purposeful adaptation of instrumental types of genre forms, which meant active assimilation of the European academic experience and determined the “modernity” and “avant-garde” of creative searches. The obviousness of these searches was evidenced by the mastery of such genre forms as the sonata, chamber instrumental ensemble, and symphonic rhapsody (V. Barvinsky); prelude and fugue (N. Nyzhankivsky), etc. The genre forms of the piano prelude and piano cycle (V. Barvinsky) are also distinguished in a special way, which represent not only the assimilation of academic forms of creating instrumental themes, but also original ways of their ethno-national identification, which differed from the examples of the works of the classic of the Ukrainian national composing school M. Lysenko precisely as manifestations of “modern” (from “new”, “modern”) and avant-garde (from “advanced”).