Жанрово-стильові особливості циклу "24 прелюдії та фуги" В. Бібіка
Genre-style features of the cycle "24 Preludes and Fugues" by V. Bibik

Summary/Abstract: The purpose of the work. The study involves identifying key aspects of the development of polyphony in the twentieth century through the example of creativity of the Ukrainian composer V. Bibik. Based on the analysis of his polyphonic cycle "24 Preludes and Fugues" op.2 it is supposed to reveal the traditionality and innovative features of polyphony, the main compositional and dramaturgic ideas and the principles of their realization in the artistic space of the work. The methodology of work involves the use of the following complementary methods: structural, because the key desire for the author was the desire to realize the cycle as a single artistic structure modeled by compositional solutions; systemic, as a base for the formulation of systemic principles of organization at the harmonic, harmonious and formative levels; the method of holistic analysis as the main one when considering preludes and fugues. The scientific novelty of the work is connected with the lack of fundamental works on polyphonic creativity of many well-known Ukrainian composers in the national musicology. Among the available scientific articles, there are several examples of original reasoning about the polyphonic experiments of contemporary composers, which, however, encourage further study and development of the problem. The chosen cycle "24 Preludes and Fugues" op.2 is generally little known and has not been studied by musicians and musicologists. Conclusions. The use of Ukrainian composers of the last third of the twentieth century of polyphony confirms the leading style-forming trend of 20th century music, based on the qualitative renewal of the genre sources of the entire previous historical development of European musical art. In the cycle of preludes and fugues, V. Bibik demonstrated a deep understanding of polyphonic forms and their quite mature use and simultaneously declared his stylistic position.

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