Archetype in musical culture as discourse of contemporary ukrainian musiciology
The article analyses the genre-style dimensions of the Kupala archetype in the works of Ukrainian composers. Purpose of the research is to summarize natioanl archetypes as basic systems of an artistic expression in the professional Ukrainian music of the latest third part of the 20th century and determine the particular nature of their semantic meaning in different genre-style contexts. The material for the analysis was the second act "Kupalo" from the opera «Tsvit paporoti» ("Color of the fern") by Y. Stankovych, symphonic picture "Kupalo" by V. Hubarenko, concert fantasy "Kupalo" for bandura by O. Herasymenko. Selected works are studied from the point of view of the specificity of the semantic implementation of the Kupala archetype. Analysis of the latest publications on the research subject. Many works both philosophical and cultural (K. Jung, S. Krymsky, N. Fry, M. Mishchenko) and those related to musicology (L. Kiyanovskaya, A. Kozarenko, M. Severina, A. Roschenko, A. Yaremchuk, V. Fomin) are dedicated to national archetypes in the professional Ukrainian music, studying their evolution and semantic meaning. Though, a particular nature of the Kupala archetype as a special issue in the aspect of its genre-style embodiment in modern compositions has not been considered yet. Methodology of the article consists in the style and genre approaches to considering national archetypes in the composition practice of 1970-2000 years as well as the method of theoretical modeling, applied to the best samples of the Kupala archetypes. Results. An archetype as a musical genre tree consists of the two main directions – singing-vocal and instrumental creativity. The creativity of the New era focuses on singing and dancing characteristics of ancient elements in the national culture which form a settled tradition. The article proposes a definition of archetype as a musical versatility which content consists in revealing the qualitative relationship between the tradition of the Ukrainian people and the professional creativity: archetype in music is a sounding archetype, intonation pattern which reflects the information space of the epoch, cultural self-identification of the Ukrainian people directed to listening comprehension and adequate perception of hidden symbols and meanings. Musical archetypes are transmitted on the basis of cultural traditions and differentiated through the system of music and symiotic signs and symbols. Typical speech means, settled and repeated, compose a semantic complex. As such, in musical compositions there is a set of conditions required to embody the national musical archetype. First of all, it concerns the availability of a chronotope (spacetime), which is outlined by the fact that a musical composition has its own flow of time: a composer sometimes shrinks spacetime limits or, vise versa, makes the flow of time slower in order to set accents in a musical piece. An important condition is also a representation of genre attributes, implemented by the musical means. An important aspect to implement national archetypes consists in reproducing a celebration as a genecode. All the basic characteristics of the Kupal archetype can be found in the instrumental music, though their complex separation is complicated by another genre context. If vocal and music-theatrical music directly addresses ancestors’ words, instrumental compositions indirectly concern archetype semantics and reveal in-depth meaning on the basis of a program and melos invariant. It has been proved that the implementation of the Kupal archetype takes place on three levels which cover both the creative process and its listening comprehension: sound structures (intonomy, chanting, rhythmic formulas, recitation, timbre); genre signs (song, vocal, play); compositional principles - ostinato, variability, burdon (ison). Conclusions. The Kupal archetype as a prototype reflects an information space of the epoch, people’s worldview and the way of thinking that the representatives of artistic elite, nation have. Some compositions manifest the interest with the history and traditions apart from neo-folklore trend in the compositional creativity (1970-2000). There proposed an algorithm for analyzing a three-level system of artistic expressiveness in a musical piece: intonomy – micro-semantic sound structures (chanting, rhythmic formulas, recitation, timbre), genre signs (song, vocal, play, dance) compositional-dramaturgical (ostinato, variability, burdon, ison). The archetype is fully represented in music and theatrical genres (in our case, a folk opera). The use of verbal archaic texts brings a musical composition closer to an archaic word in the author’s interpretation. As such, on one hand, it is impossible to imagine the Kupal archetype without noisy games, exclamations, and bustling celebration as the manifestation of the other world, and on the other - without lyrical long, rehearsing as a human world. The national archetype, studied in respect of the creativity by O. Gerasimenko, V. Hubarenko, E. Stankovych, is represented as a system object in the musicology analysis. On the basis of the summarized specific nature and common features of the Kupala archetype, it is possible to create a theoretical model aimed at understanding a composer’s mind, where national archetypes appear as a mental basis of an artist’s worldview. Prospect for the further investigation of the subject consists in covering other national archetypes (christmas, spring, trinity, rusal, kupala) in the context of a variety of styles pertaining to the creativity of Ukrainian composers (I. Alexyuchuk, A. Vakhnyanin, L. Dichko, I. Karabitsa, M. Leontovich, M. Lysenko, I. Shamo, L. Shojailo).