CONCEPTUAL MUSIC IN THE WORKS OF UKRAINIAN COMPOSER ROMAN GRYGORIV

Abstract

The main goal is, first and foremost, to review the features of using conceptual music techniques in the works of the young Ukrainian composer Roman Hryhoriv (born 1984), focusing on some of his compositions. This includes an introduction to the concept of conceptual music, which is reflected in the exploration of the philosophical and artistic foundations of this contemporary compositional approach. The research results include an analysis of the composition The Voice of Hell’s Arrow, created for the string orchestra ‘Kyiv Camerata’ and the fragments of a detonated Russian BM-27 Uragan missile. The analysis was conducted according to the following parameters: texture, harmony, semiotic components of the thematic material, dramaturgical development, form, and some aspects of orchestral technique. In the context of conceptual music techniques, the following works by the composer were also considered: the ‘archaeological’ opera CHORNOBYLDORF and the opera GAIA-24. The main definitions related to the conceptual music approach were formulated, taking into account the philosophical and chronological contexts of the phenomenon under investigation. The scientific novelty lies in the selection of works that, at the time of writing the article, had not been previously studied in the context of the conceptual music approach within the musicology-scientific sphere. An important aspect is the appeal of Ukrainian composer Roman Hryhoriv to the techniques of conceptual music, which represents a significant step toward integrating Ukrainian musical content into the global musicological space. The musical examples discussed in the article are also unique in terms of their chosen themes, as they directly relate to the current events of the war in Ukraine, thereby drawing attention both as examples of conceptual music with national significance and as examples of works with global importance, considering the significant impact of this war on the world.