Семіотичне значення полілогу мистецтв у камерно-інструментальній творчості українських композиторів кінця XX - початку XXI ст
The semiotic significance of the art polylogue in chamber music by Ukrainian composers of the late 20th – early 21st centuries

Summary/Abstract: The article investigates the semiotic influence of the art polylogue on the character of modern genre formation processes and the sign-technological universalization of composer vocabulary on the material of Ukrainian chamber music of the late 20th – early 21st centuries. Methodology. In the analysis of the polysemyotic compositional integrity of modern chamber pieces of Ukrainian authors the culturological, semiotic, intermedial, musicological, comparative typological, structural-semantic methods were used. Scientific Novelty. The scientific novelty of this study is formulated in the following positions: for the first time the essence of the phenomenon of art forms interference was defined and its influence on the formation of the polysemyotic compositional integrity of the works of chamber art was characterized; the main principles of organizing the semiotics of musical and non-musical information in the chamber music of Ukrainian composers postmodernists were revealed; the phenomenon of inter-art genre symbiosis in chamber music was investigated; the basic artistic-aesthetic and genre-forming tendencies in modern technical and compositional practice from the standpoint of the semiotic concept of an art polylogue in music were indicated. Conclusions. At the turn of the 20th –21st centuries, the modification of the organological and aesthetic-semantic parameters of ensemble genres is determined by the rapidity of the processes of intersemiological synergy of structural codes, imagery and semantic principles under the influence of the mechanism of the art forms interference. The study of the chamber works by Ukrainian composers at the end of the 20th and the beginning of the 21st centuries allows us to distinguish the semiotics types of the art forms interference that are oriented toward lexical innovations (symbolic interference of musical and non-musical semiotics in the new music's libro-genres) and genre innovations (interference in the plane of inter-art genre symbiosis). The latter implies the appearance of musical variants of genres of literature, fine and non-pictorial kinds of plastic arts (musical novels, legends, mysteries, dialogues, triptychs, paintings, still lifes, sketches, frescoes), as well as intermedial cross-genre junction (sonata-dialogue, sonata-diptych, sonata-extravaganza, film play, cinema-suite). The introduction of these semiotic principles testifies to the universalization of the composer vocabulary, which causes the transformation of the performing technique towards its artistic universalism. The art polylogue determines the direction of the evolution of the principles of genre formation and the structuring of musical material from the elementary to the more perfect – a synergistic combination of elements in intermedial texts, which has a significant influence on the development of the chamber art of Ukraine at the end of the 20th – beginning of the 21st centuries.

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