MULTIDIMENSIONALITY OF GENRE SYNTHESIS IN CONTEMPORARY MUSICAL ART
The purpose of the article is to reveal the peculiarities of the phenomenon of polygranism (genre synthesis) and its varieties in contemporary musical art. The methods of the study are based on a combination of historical and theoretical approaches of scientific knowledge. The historical method allows us to trace the origin, flourishing, complication and improvement of the phenomenon of genre synthesis in musical art, first of all, during the postmodern day (the last third of the twentieth century – the beginning of the XXI century). Dialectic, comparative, empirical (observation and generalization) methods of research, and contributes for a deep understanding of the various approaches of modern composers to the combination of signs of different genres in one musical also work are used. The scientific novelty of the research consis in generalizing the views of scientists on the problem of genre synthesis and its projection into contemporary works of Ukrainian music, especially, the concert genre as one of the leading composers (among others – Rhapsody Concerto for Viola and Mezzo Soprano Natalia Boyeva). Conclusions. The musical genre as a cultural phenomenon characterizing the classification of musical creativity by genera and species has historical origin and certain conditions of existence; it reveals to the composer the broad style of cultural potential, makes choosing and expanding her spiritual resource, develop and embody new stylistic ways of understanding the musical form. In the genre plane, we can note the constant interaction of traditional and new genres, the emergence of new in accordance to a new imagery, especially at the present stage. The technique of representing musical material and aesthetic demands of the new world stylistics, which gave rise to the emergence thinking both have a permanent impact on the development of the genre palette.