Львівське камерно-оркестрове виконавство крізь призму ідеї персоналізму (друга половина ХХ – початок ХХІ століть)

Бура, Марта Ярославівна

Львівське камерно-оркестрове виконавство крізь призму ідеї персоналізму (друга половина ХХ – початок ХХІ століть)

Бура, Марта Ярославівна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2397

Date: 2018

Abstract:

У дисертації обґрунтовано концепцію розвитку львівського камернооркестрового виконавства означеного періоду у тривимірній проекції простору-часу: 1) історико-теоретичні аспекти львівського камерно-оркестрового виконавства як творчого феномену; 2) персоналістичні інтенції як рушії розвитку вказаного феномену; 3) сьогодення і перспективи камерно- оркестрового виконавства Львова крізь призму колективних рефлексій учасників процесу та комунікації з «узагальненим молодим реципієнтом». У дослідженні свідомо обрано чотири основні моделі колективів (Львівський камерний оркестр «Академія», «Perpetuum mobile», «Віртуози Львова», «Leopolis»), що у «згорнутому» вигляді відображають плюралізм творчої практики. Серед новаторських здобутків дослідження – введення музикознавчого обігу варіанту трактування поняття «музично-виконавські персоналістичні інтенції» та ін.

Description:

The first-ever systematic research of Lviv chamber and orchestral performance of the stated period was conducted (through the example of musical ensembles: Lviv chamber orchestra “Академія”, “Perpetuum mobile”, “Lviv virtuosos”, “Leopolis”); Lviv chamber and orchestral performance development concept of the second half of 20th – the beginning of 21st century as a result of personalistic intentions implementation was substantiated; an interpretation variety of the notion of “musical and performance personalistic intentions” was introduced into the musicological terminology; interview and social study materials were included in the national musicology. The suggested concept of Lviv chamber and orchestral performance development represents the subject-matter of the study in a three-dimensional projection of space-time. The first vector is represented by historical and theoretical aspects of Lviv chamber and orchestral performance development as a creative phenomenon. Ensembles of the two kinds from the substantiated typology based on G. Riemann’s definition – “orchestra-ensemble” (“Academy”, “Perpetuum mobile”) and a “small orchestra” (in separate cases “Lviv virtuosos”, “Leopolis”) occasionally function in the area of Lviv chamber and orchestral performance. Structural typology of chamber and orchestral musical ensembles according to the genre typology of chamber ensemble of I. Polska is compiled. Two types of orchestra, in particular, 1) constant and 2) relative (“Lviv virtuosos” and “Leopolis”), are determined. On the basis of the scholar’s idea concerning the orchestra as a “model of macroensemble”, an assumption on implementation of various models of orchestral communication, i.e. “orchestra – organism” (“Perpetuum mobile”); “orchestra – state” (“Academy”); “orchestra – theatre” (“Leopolis”), is made; “Lviv virtuosos” combine different models of performance interaction with no domination of either type. The second vector is represented by personalistic intentions as the driving force of Lviv chamber and orchestral performance development in the second half of 20th and the beginning of 21st century. Personalistic impulses as “creative acts” were among the main reasons for establishment and stipulated unique destinies of creative musical ensembles. The “style” of the orchestra laid down by its founders and further developed by successors depends on the personality of its leader. The study gives reasons to declare Lviv chamber and orchestral performance school with Lviv chamber orchestra as the foundation, which is the “school-art” (according to Zh. Dedusenko) or the productive school (according to I. Kotliarevskyi). The third vector is the present day and perspectives of Lviv chamber and orchestral performance through the prism of collective reflections of the process participants and communication with a “generalized young recipient”. Significant mental problems of a broad range of youth population concerning the understanding of chamber and orchestral art were found as a result of questionnaires processing of the students youth. Four main models of musical ensembles that in a “folded” form reflect the pluralism of creative practice were consciously chosen in this study, and research of the phenomenon of modern musical performance has long-term perspectives as the subject-matter of the study is constantly updated.

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