The style dominants of the performing concept of a musical work.
Background. Like any kind of art, musical performance allows an individual to express his own «I» and an individual worldview. The only difference is that the spoken text is not an author’s text, it is chosen from a huge variety that represents different historical, national, individual styles, that is re-interpreted, re-intoned, actualized, appropriated, but stays «the composer’s musical work». And although the appearance of the performing version of the musical work precedes the work with the author’s text, the study of style features of the era, the creativity of the composer, etc, however, this preparatory work often corrects, but does not significantly change the already developed concept of a specific piece of music. A concept based on an individual performing style, more precisely, its style dominants, affecting the micro and macro levels of the performance plan and, ultimately, the creation of a holistic image of the work. Objectives. The aim of the work is to substantiate the necessity of introducing the concept of «system of style dominants» into performing musicology. Methods. In works devoted to the performing arts, issues associated with the conceptual foundations of the musician’s creativity have long been developed. An important point is the recognition of the fact that the composer’s text acts as a starting point, a kind of «impetus» to the implementation of the artist’s intentions which reflect the stylistic dominants of his work. We shall note that the «theory of style dominants» has not been practically developed in performing musicology. The only exception is D. Rabinovich’s research «The Artist and Style», in which the notion of a stylistic dominant is introduced as one of the most important factors that allow to reveal the specific character of the performing type. Unfortunately, D. Rabinovich only outlines this vector of research, without suggesting either a definition or a mechanism of action of the style dominant. Therefore, we will rely on research in the field of literary criticism (the work of D. Nalyvaiko), where the style dominants are understood as an important parameter of studying the integrity of the author’s style. Results. Musical performing arts, as a form of public consciousness, is a complexly organized communicative system based on the personalities of performers who, in the process of creative activity, enter into a kind of polylogue, the links of which are composer / composers, audience, other performers, cultural (musical) context... All this affects the artistic settings of each individual artist, forming the concepts that determine the algorithms for working with the composer’s work, including: – actual selection of the work of a particular author or musical epoch; – principles of working with the text of the work – enrichment or recreation (in the terminology of V. Moskalenko); – orientation to the reference performance or deliberate violation of its foundations; – selection of the audience (recording, concert, performance at a festival, in an informal setting); – an energetic focus on the public or its ignoring. Along with the personality of the performer, his belonging to the historical / national / instrumental school, these factors make it possible to create a model of an individual performing style, designating stable (dominant) components defining it. In literary criticism, the system of style dominants is treated as a series of oppositions, manifested in the process of forming a musical work. – subjectivity or objectivity of the utterance; – the prevalence of representativeness or expressiveness; – plot or psychologism as the principles of development of the plot; – narration or descriptiveness; – monologism or contradiction; – the selected type of composition (simple one, with one storyline or complex one). It seems that almost all the oppositions used in literary criticism, which characterize the style dominants, can prove to be an important tool for studying the musician’s performance. Also, in fact, performing musicology already uses them. So, “subjectivity-objectivity” couple, of course, serves to create a series of typologies of performing style, in particular, the Dionysian (subjective) and Apollonian type of musical utterance proposed by O. Katrych. The problem of the predominance of representativeness or expressiveness is correlated with the parameters by which D. Rabinovich distinguishes virtuosos (whose goal, in the researcher’s opinion, is to strike, sometimes at the cost of external, often visual effects) and emotional performers (whose goal is to express). The pairs reflecting the principles of the work’s dramaturgy construction (meaningfulness – psychologism, monologism – contradiction and also the type of composition that logically flows from them) are perspective, especially when taking into account the eventivity factor. It is known that performers stand the dynamics of the development of musical thought in different ways. And if for some, the event is the smallest element of a musical texture, which sometimes leads to its rethinking up to the creation of additional sub-voices, then for others whose creative search is conditioned by different style dominants, each individual work is seen as a kind of a semantic monolith in which everything is aimed at expressing the general idea. The latter variant is characterized by the ignoring of small events and event lines for the complete reconstruction of a single psychological image, which is reflected in the interest in the works of «large forms». Conclusions. As we can see, the proposed concept can help more than enough to specify conventional characteristics used for the typologies of individual performing style, absolutely necessary in the research work. The future of the topic proves a number of emerging issues, in particular, how stable the system f style dominants appears in the evolution of the individual performing style.