AESTHETIZATION OF THE TRAGIC IN THE CONTEXT OF MODERN MUSICAL CULTURE ON THE EXAMPLE OF DRAMA CONCERT NO. 2 BY K. TSEPKOLENKO’S

Abstract

The category of the tragic as a culturological problem acquires a universal breadth, and can be considered as one of the central categories in the spiritual experience of human and humanity, which means that the analysis of the phenomenon of the tragic is always relevant. The study of the phenomenon of the tragic is of particular interest in the context of the work of K. Tsepkolenko. The clash of two forces – a tough unforgiving fate and the phenomenon of collective unbending will, strength of character and thirst for life. Five cadences, where the piano is one of the instruments of the orchestra, reveal the tragic path of struggle and, in the end, the triumph of «light» forces. The cadences personify the psychological states of the characters, and each of them becomes a borderline of qualitative changes. The duets, which form a quintet at the end of the concert personify the forces of the greatness of the human spirit and demonstrate an example of confrontation with the forces of elements, fate, and the part of the orchestra – personifies the elements and tragic circumstances a person opposes. The purpose of the work is to determine the peculiarities of reading of the genre canon of the tragic within the framework of the individual author interpretation of the styles of K. Tsepkolenko. The research methodology is based on the methods of comparative, as well as complexsystemic analysis, which consider the piece as an integral part of a holistic and multifaceted culture. The scientific novelty of the work is determined by the study of the field of “Tragedy”, aimed at the poorly studied in this respect work of K. Tsepkolenko. Also novel is the perspective of the research, aimed at substantiating the dramatic nature of the work under study as well as the principles of systematizing the tragedy genre. Conclusions. The concert genre in the work of K. Tsepkolenko, is determined by contrast, drama, multiplicity, diffuseness, experiment. This is not a strict adherence to the genre canon, and not a denial of its laws. The composer “sets the genre free”, completely subordinating its canons to the idea, dramaturgic logic.