Діалог як смислоутворююча категорія в українській органній музиці: на прикладі "Духовної музики" для механічного органа В. Назарова
Dialogue as a meaning creation category in Ukrainian organ music: on example of "Spiritual music" for mechanical organ by V. Nazarov

Summary/Abstract: In the article the phenomenon of dialogue as a meaning creation categories of Ukrainian organ music is explored. The features of "sacred music" for organ by V. Nazarov in terms of dialogue are studied. Mechanisms of intercultural communication at different levels of musical composition was characterized. Ukrainian organ music is relatively and actively developing young field of national instrumental tradition. It was formed in Ukrainian cultural paradigm, different from traditional for organ music Europe’s one. That’s why Ukrainian organ works acquired individual signs. Its’ analysis and interpretation somehow or other eliminate the intercultural communication problems of features of two separate formations: Ukrainian and European organ music. The difference of the "entry technique" of European organ culture traditions in Ukrainian spiritual space is processes of intercultural interaction, because of its nonlinearity, variability and instability. All communication processes are associated with the category of dialogue – the universal form of cultural interaction. Music for organ is created by many Ukrainian composers, but many of their works are still outside of research attention. Meanwhile, the rapidly growing creative competence and performance art of this sphere of creativity actualize the necessity of studying Ukrainian organ music, development trends and genres. This process is based on systematic analysis of the whole array unexplored works. The purpose of the article is to determine the mechanisms of intercultural communication that distinguishes Ukrainian organ works on the example of "Sacred music" ("Duhovna muzyka", 1988) for mechanical organ by V. Nazarov, the software triptych about suffering and death of Jesus Christ. Ukrainian organ music with the greatest activity embodied with tradition of archaic layers of organ music, which aesthetic value range is due to connections with the ecclesiastical space. Old church organ music determinants enter into a dialogue with the "musical modernity" in several ways, among which we highlight the direct, indirect and symbolic communication. By focusing on "Spiritual music" V. Nazarov in the context of dialogue, we concluded that indirect communication is the main principle of communication with ancient genre prototypes in this. "Spiritual Music" doesn’t have some certain genre specificity and is characterized by the highest deviation degree of the creation from the genetic formula of any spiritual source. Connection with canonical musical prototypes is quite illusory and appears as a barely perceptible allusions of religious music of the past. The reconstruction of tradition is the result of large-scale dialogue that occurs in the "Sacred music" at different levels of the whole, which was differentiated by us as follows: semantic (in the context of this work combines verbal- text and semantic parameters), stylistic (mega level) phonic and compositional (or macro level) and linguistic (micro level). At the semantic level dialogue that occurs between this composition and global Christian Musica Sacra, is positioned as intercultural communication. It is positioned as an adaptation of European Passion genre's traditions by the new cultural paradigm. Intercultural dialogue continues at the stylistic level too. It occurs in combination of stylistic attributes of the Baroque and early twentieth century’s one, neomodal elements with constructive ideas and sound principles of minimal art. Dialogism as attributive quality of the "Sacred music" comes in sight at the crossroad of cultural, ethnic, mental and stylistic paradigms. It is manifested at the level of immanent musical patterns and positioned as a dialogue between several musical systems which are translators of specific "meanings".

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