CHORAL WORKS BY VICTORIA POLEVA IN THE CONTEXT OF INTERMEDIALITY

Abstract

The purpose of the article is to propose possible tools for developing the theory of intermediality within musicology, using the choral works of the contemporary Ukrainian composer Victoria Polyova as a research material.
Research methodology. The methodological basis is a systematic approach and musicological analysis of V. Poliova's choral stylistics.
The novelty of the study lies in the application of the categories of space and time as conceptual foundations in the understanding of stylistics in the context of postmodern modernity.
The development of the theory of intermediality in its musicological aspect is one of the promising areas of contemporary art history, which will contribute to the expansion of the complex of analytical, cultural, and purely musicological tools for the study of the latest processes in contemporary artistic thinking. Such tools can be discourses of space and time, the categorical nature of which allows us to change the «event horizon» in search of methods of studying an artistic text that are appropriate to postmodern realities. The determining factor in the formation of Poliova's style is her attitude to the word. In her choral works, the word as a verbal factor is reinterpreted as an inherent quality of purely musical meaning. The composer uses not only the traditional historically established methods of intonational and semantic embodiment of the word in musical matter. She understands the word-logos as a certain symbol containing a range of semantic and phonological meanings. The vibrations of meanings, their immersion in the intonational environment encourage transformations in the system of expressive means. The peculiarity of the organisation of space and time in the choral works of Viktoriia Poliova is of decisive importance in terms of their musical embodiment.
Statics, the depth of sound matter, spatial configurations become substitutes for traditional methods of creating drama, dynamics, and form. A wide range of textural means determines the strategy of «reading» the concept of the work.

The practical significance. This material can be used for further development of intermediality and in lecture courses on contemporary Ukrainian music.