PIANO ART ON THE PAGES OF THE ‘MUZYKA’ JOURNAL OF THE 1970S AND 1980S

Abstract

The article deals with the works devoted to piano art in the editions of the ‘Muzyka’ journal of the 1970s and 1980s. Their classification is made, little-known or forgotten facts from the history of piano art in Ukraine in the 1970s and 1980s are introduced into musicological circulation, and their interconnections with the modern era of Ukrainian musical culture are outlined. The purpose of the article is to analyse the significance of the periodical ‘Muzyka’ in covering the state of development of piano art in Ukraine in the 1970s and 1980s. The methodology is based on a set of methods and principles, including: source and textual approaches based on the study of textual materials; a comprehensive historical approach to understanding the significance, role and place of a particular artist in the history of Ukrainian musical culture; a comparative approach, which identifies and compares similar trends in the materials studied; the method of memorial cultural studies, which makes it possible to reconstruct the past and model it in the present. The scientific novelty lies in the fact that for the first time the activities of the journal ‘Muzyka’ of the 1970s and 1980s are considered as a subject of musicological study, in particular its component representing piano art. Various aspects of the piano art covered in the pages of the ‘Muzyka’ journal of the 1970s and 1980s are described, including an overview of piano competition life, general issues of the piano art, consideration of significant figures and their concert activities, as well as analysis of the piano works of composers and the functioning of genres. As a result, it is proved that the materials of this period provide the most complete information for studying the specifics of music competitions (in particular, the M. Lysenko Competition, the All-Union Piano Competition). It was found that among the articles of the journal there are those reflecting the early scientific activities of well-known pianists, as well as publications of new compositions, including vocal compositions accompanied by piano, which were included in the journal’s musical supplements. Conclusions: Although piano art did not become the leading theme of the journal ‘Muzyka’ in the 1970s and 1980s (among 120 issues of this period, about a hundred articles are thematically related to piano art), this body of information allows us to structure it in terms of determining the main directions in the reflection of piano art on the pages of the journal and to introduce into musicological circulation little-known facts from the history of Ukrainian piano art of the 1970s and 1980s.