Жанр симфонії крізь призму інноваційного підходу О. Яковчука (на прикладі Симфонії-концерту № 6 “Пам‘яті С. Барбера”)
The Genre of the Symphony with the Prism of Innovative Approach A. Jacobchuk (On the Example of Symphonyconcert № 6 “In Memory of S. Barber”)

Summary/Abstract: The purpose of the article is related to the knowledge of the metamorphosis of the genre of the symphony at the present stage, which is traced in numerous modifications of its classical invariant, one of which is a mixed genre. In the context of this coverage of genre-style features of Symphony concert No. 6 "In memory of S. Barber" (2013) A. Jacobchuk will promote a deeper understanding of not only the innovative approach of the artist but also of the leading tendencies in the development of the genre. The methodology of the research is based on the application of the cultural approach, source study, textual methods, as well as methods of holistic analysis and interviewing. This approach allows us to reveal the artistic and expressive qualities of this work in terms of updating the genre features of a symphony. Scientific novelty. The genre-style features of Symphony concert No. 6 "In memory of Barber" by A. Jacobchuk are considered for the first time in view of the innovativeness of the composer's approach (updating of presentation techniques of symphonic principles, mixed genre, intertextual connections). Conclusions. Artistic originality of the plan of A. Jacobchuk`s work is based on an idea of creative dialogue with S. Barber's music. This was reflected both in the direct quote and in the masterful work with intonation, the ability to show the elegance of the transition from the borrowed tunes to his own ones. The innovation of the approach can be traced to the belongings of the work to the group of mixed genres which are typical at the present stage. The noncanonity of the Symphony-concert No. 6 manifests itself in concentrating the contrast between the two parts of its cycle, the absence of the slow part and the scherzo, the treatment of the sonata form in the first part only expositional (without development and reprisal), replacement of the sonata form in the final on polyphonic one (fugue), the use of intertextuality, which plays a dominant role in the formation of the integrity of this composition.

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