STYLE DISCOURSES OF ACADEMIC SPECIALIZATION OF THE TRANSCARPATHIAN SCHOOL OF COMPOSITION BASED ON EXAMPLES OF PIANO ART OF THE SECOND HALF OF THE 20th CENTURY

The formation and development of the Transcarpathian school of composition falls on the so-called Intentional period of the history of musical culture, which unlike the Classical and Romantic periods, is no longer dynamic, but rather extensive in the nature of cultural initiatives. Generally, it means that the purely volitional discourse of the cultural creation of the so-called Classical period of the musical history changed from, so to speak, iambic discourse (intention from the past to the future) to a trochaic one – when the measurable temporal perspectives of the cultural space are balanced in favour of “real” time and its speculative connection with continual reality. However, for the formation and development of the Transcarpathian school of composition, especially in the field of piano music, the discourse on mastering the academic technologies of musical thinking and at the same time adequate stylistic resources with respect to the latest artistic aesthetic and stylistic forms of the creative process proved to be an indication of the actualization of stylistic initiatives in the spirit of modern and at the same time modernistic (as innovative) implementations in the sense of the latest principles of style formation. Among such initiatives, one should first mention the technologies of stylization and the allusion method of style development, which rely on a certain pole of stylistic attraction and conscious stylistic borrowings. That is, the trace of obvious shifts in the style paradigm on the national discourse of style formation turns out to be closely related to style reminiscences, since the purely national vector of style formation tends to come up to the macroindividuational resonance processes in the so-called historical set of style systems. In this context, after all, the question of a separate existence of the “Transcarpathian school of composers” as a style-forming fragment of the whole panorama of the Ukrainian national compositional tradition is very relevant. It seems that this question has special roots in the interpretation of the very phenomenon of a school of composers, as it is a purely profile orientation of the Transcarpathian composers’s work on the principles of professionalism and academic training. With regard to music composition in Transcarpathia, there are all objectively existing prerequisites for stating that it has the right to be recognized as a “school of composers”: in this regard, important is the academic training of the authors of musical works, representing a mentally characteristic image of creative ideas and a remarkable flair for testing the latest algorithms of musical thinking.