TRANSFORMATION OF MUSICAL SPACE IN CHAMBER AND INSTRUMENTAL MUSIC OF THE 20TH AND EARLY 21ST CENTURIES

Abstract

The article examines the issue of interpreting musical space as something that, in the modern era, is undergoing transformation, changing some of its qualities and acquiring new meanings and roles in instrumental music, which is extremely relevant for musicians, performers, and researchers. Today, this space is increasingly seen as a complex, multi-layered sonic-acoustic structure that shapes musical text and is perceived as a new artistic reality. The purpose of the study is to trace the genesis and transformation of the phenomenon of musical space in the new genre typologies of instrumental ensemble music from the post-modern era to the contemporary stylistic transformations of the 21st century. The current stage of development of musical art highlights the need for a deeper understanding of the phenomenon of spatial transformations within ensemble performance, as well as the sound space itself, which is increasingly acquiring symbolic “materiality” and conceptual content. Methodology. The methodological basis of the study is a comprehensive approach, the leading method is analytical, generalizing, with elements of comparative, cultural, philological, and new approaches to the analysis of already known phenomena of musical art. Scientific novelty. This new perception of sound space as a new sounding substance in chamber ensemble music and the change in the nature of the relationship with it appear to be a somewhat paradoxical phenomenon. After all, chamber instrumental music (from the Italian camera – room, hall, temple), which belongs to the spatial arts, traditionally exists in a clearly defined, mostly limited space. For the first time, the interpretation of artistic space is considered in individual instrumental ensemble works by Ukrainian composers: Viktoria Poliova, Olena Tomlyonova; European and Eastern composers, in whose works, in various authorial sonic and stylistic solutions in the reproduction of space and spatial phenomena, we find figurative “forays” into the borderlands of artistic life (K. Stockhausen, G. Crumb, K. Cerrone, S. Pan). Conclusions. The conclusions emphasize the relative underdevelopment of this phenomenon, compared to the category of time in music, since time in the time-space continuum is considered separately and multifaceted. However, in contemporary instrumental ensemble music, the understanding of the transformation of spatial indicators, as well as the sounding space itself, which is increasingly symbolically “materializing” and acquiring symbolic materialization, is becoming more and more significant, fruitful, and relevant.