Психологічний портрет композитора як джерело пізнання «образу автора» (на прикладі Бориса Лятошинського та Василя Барвінського)

Варнава, Руслана Анастасіївна

Психологічний портрет композитора як джерело пізнання «образу автора» (на прикладі Бориса Лятошинського та Василя Барвінського)

Варнава, Руслана Анастасіївна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2384

Date: 2017

Abstract:

У роботі досліджуються психологічні портрети видатних українських композиторів ХХ ст. – Б. Лятошинського та В. Барвінського, детермінуючий зв’язок психоособистісної структури і творчого мислення митців. Системний розгляд різноманітних аспектів композиторської особистості здійснено на основі музикознавчих, психофізіологічних, патографічних, герменевтичних, етнопсихологічних розвідок, мемуарів та епістолярію В. Барвінського і Б. Лятошинського. Вибудувано експериментальну модель психограми композитора та встановлено певні зв’язки між індивідуально неповторними рисами характеру, темпераменту та авторським стилем кожного з митців. Простежено соціокультурний контекст функціонування психіки композиторів. Здійснено компаративний аналіз творчих портретів Лятошинського і Барвінського в психологічному розрізі.

Description:

The dissertation investigates the psychological portraits of prominent Ukrainian composers of the 20th century – B. Lyatoshynsky and V. Barvinsky; mutual connection between psychopersonal structure and creative mentality of artists. Systematic review of various aspects of composers’ personalities is based on analysis of musicological, psychophysiological, pathographical, hermeneutical, völkerpsychological researches, memoirs and correspondence of V. Barvinsky and B. Lyatoshynsky. Inspected section of documental-correspondent and publicist materials has become the source for research of composers’ psychological characteristics. Letters and memories as parts of composers’ lives, allowed us to plunge into the kingdom of personal traits and to track down followed parameters: – endo-psychological traits: emotional deepness, imagination, memory, intellect. This shows in letters to the closest people (Lyatoshynsky’s – Glier’s correspondence, the Prague letters of Barvinsky to his parents); – moral traits of artists, the measure of social pliability, the role of communicational functions in a life of musicians, the diversity of interests is defined in letters to their friends, colleagues, students; – the dynamics of developmental psychology, revealing of which has truly became possible after studying of early, middle and late age correspondent and publicist sources (Barvinsky іn first place); – the letters as a view at sociocultural society of Kyiv, Lviv, Prague, Moscow, Leningrad, also as a document for studying such topic as ‘the artist and the government’. The composer’s mental code reveals to us in a completely new aspect. Poly-ethnic environment, which formed both composers, has affected Lyatoshynsky with a few “impurities” (on a genetic level) of Polish mentality, and Barvinsky (on communicative level) of Czech-Austrian mentality. Nevertheless, every völkerpsychological research allows us to confirm the domination of Ukrainian mental psych type in both composers (especially remarkable in Vasyl Barvinsky). The theme of metal self-identity is specifically viewed in composer’s pieces. The psychological vector of work allows us to see the creativity of composers in a very special way – as a mirror of their very own personal aura – and to determine some connections between dominant psychosomatic personal features and stylistic musical feature of pieces. Harmonic balance of Lyatoshynsky’s personality is clearly shown in various psychological combinations, in particular intellect – emotions, eager and apathetic features. As a confirmation to this there is plenty of categoriesoppositions which exist in composer’s music equally and describe Lyatoshynsky as an artist: heroics – lyrics, epos – drama, romantic focus – strict classic way of thinking, reliance on deep traditions – complete innovation etc. Those categories, named above, are completely revealed in composer’s symphonic genre, which gives to us a unique example of connection between personal type of expression and global point of view on world in general. Marked introvert temper of composer, with permanent criticism and complete reprobation of his creativity was the defying element in his life. General image of romanticism with its elegant palette of elegiac and melancholic moods, advantage of subjective lyrics, was very close to Vasyl Barvinsky. It is interesting, that even with a fact, that composer was familiar with all of these genres of modernism, he didn’t completely use them. He preferred only those new trends, which put subjectivity in perception on first place such as impressionism, symbolism, neoclassicism (partly), new folkloristics. Secession, which has become artist’s trend (assimilating those, stated above) revealed itself in a very special way: on the one hand, composer was impressed by high spiritual ideals, on the other hand – his music presents versatile synthesis of genres and stylistic ‘signs’, which demands high knowledge of music theory and confirms the intellectual focus of secession’s pieces. The format of this investigation allowed us to use comparative method in analysis of composer’s individualities. The personalities of Lyatoshynsky and Barvinsky were shown in consolidative and individual way, which gave as an opportunity to descry some familiarities as well as specific features of each composer.

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