THE HERITAGE OF THE TRADITION OF UKRAINIAN SPIRITUAL SINGING IN THE COMPOSING CREATIVITY OF ARTISTS OF TODAY (ON THE EXAMPLE OF O. KOZARENKO’S “OSTROZKYI TRIPTYCH”)

Abstract

The selected scientific problems are determined by the study of spiritual choral art of Ukraine in the unity of performance and compositional creativity, namely: Ukrainian spiritual singing in the composer’s interpretation of contemporary artists. The purpose of the scientific article is to identify signs of the continuity of the tradition of Ukrainian spiritual singing in today’s composing creativity work (on the example of “Ostrozkyi triptych” by O. Kozarenko). In this case, we are talking about the root tradition of the national church singing art – Orthodox monodic singing. The methodology is based on a combination of historical-genetic, genre, stylistic, semantic, structural-functional, interpretative-performing and systemic approaches. The complex of methods makes it possible to identify the specifics of Ukrainian spiritual singing in the context of musical and performing creativity and determines individual genre and style decisions of its composer’s interpretation (songs of the Ostrozkyi napiv (chant)). The scientific novelty is that, for the first time, a systematic analysis of the spiritual choral cycle “Ostrozkyi triptych” by O. Kozarenko (1963–2023) was carried out from the point of view of the study of the continuity of the tradition of Ukrainian spiritual singing in the composing creativity of today’s artists. The following is substantiated in the Conclusions. “Ostrozkyi triptych” shows its orientation towards the prayer genre, which is reflected in the reliance on monody (the genesis of Ukrainian spiritual singing), in the selection of samples of the Ostrozkyi napiv. The etymon of the author’s genre name “triptych” appears, in a way, as an appeal to the designation of the cycle as a sonorous icon. Based on the study of the cycle, we can state that O. Kozarenko introduces a new genre name. “Ostrozkyi triptych” appears as a standard of Orthodox monody as an example of renewing the historical memory of the ethno-local liturgical tradition of Ostrozkyi napiv, appealing to the genesis of spiritual singing.