Genre-Style Diversity of Interpretations of Ukrainian Classics’ Poetry in Musical Art

Abstract

The purpose of the article is to reveal a variety of genres and styles, in which musical interpretations of Ukrainian classical poets’ texts appear. The methodology. Due to the specific features of the research, the combination of musicology and literary methods should be involved, as well as general scientific methods. So that, the musical analysis and the observation of stage production take place in direct connection with the features of the literal works and in general sociocultural context. Comparative method has been used to identify the characteristic features of such interpretations in different eras and in the works of different artists. The facts were summarised and structured with the use of the analytical method. Scientific novelty of the work lies in the presenting of the genre-style diversity of musical interpretations of the poetry of Ukrainian classics. Features of most musical works of the modern performers are described for the first time. Conclusions. The poetry of Ukrainian classics has a prominent feature – internal musicality, which up till now makes composers and singers turn to it and create their own new interpretations. This feature helps poetry to appear in the great variety of musical genres: from vocal, for example, song, romance or ballade, to genres that are bound with dance or theatre art, such as musical, mono-play, opera, or ballet. Traditionally, musical interpretations of the poetry were related to classical music. However, musicians’ attitude to the interpretation of the poetry of Ukrainian classics totally changed in the end of the XX century. After Ukraine reached its Independence, such interpretations have done the «break-out» and widened their stylistic paradigm to the great diversity – from academic acoustics to rock, rap core and many other different styles. To present these features, the musical compositions of the duo «Telniuk Sisters», bands «Komu Vnyz», «Plach Yeremii», «Haidamaky», and «Tartak» were used in the research. The article also illustrates the interpretations of the literary heritage of the classics in ballet art, as a vivid example of the fact that not only vocal works are born from the interaction of words and music.