THE CHARACTER OF GERMAINE TAILLEFERRE: GENRE-STYLE SPECIFICITY AND THE CULTURAL-AESTHETIC PARADIGM OF THE COMPOSER’S CREATIVITY

Abstract

The purpose of this study is to reassess the role of G. Tailleferre in the musical culture of the twentieth century, to identify the specific features of her work with an emphasis on the national, genre-stylistic and cultural-aesthetic foundations of the composer‘s heritage. Research methodology. Materials of research are studied by logical, historical, chronological, problemchronological, and musical analysis method. The practical significance. The research materials can be used in lectures and seminars on the history of modern foreign musical culture in secondary and higher educational institution. Results. It is emphasized that the group «Les Six» stood in the position of preserving national identity, free from the Teutonic repertoire of the 19 th century. The composers of the «Les Six» tried to eradicate the sublime or sterile influence of the previous French generation of composers.
It is noted that the musical activity of G. Tailleferre is often considered exclusively in the context of the activities of the French «Les Six». G. Tailleferre‘s signature individual style was formed in the 1920 s, during the period when she became a full-fledged member of the «Les Six» group. The early work of G. Tailleferre had common features with
the style of Gabriel Fauré.
It is marked, that G. Tailleferre's style is clear, clear, typical of neoclassics. However, in some works (Piano Concerto, ballet «Marchand d'Oiseau») G. Tailleferre uses the Baroque technique. Her neoclassicism restored the composition to restraint and clarity, and showed the way to the «late» Igor Stravinsky and Francis Poulenc. In addition, the works of G. Tailleferre are deliberately ironic. 
The cycle «Six Songs» by G. Tailleferre reflects the aesthetics of her work. The songs combine beauty, brilliant compositional technique, wit and irony, but there is a contradiction between poetry and musical mood.
It is reported that G. Tailleferre enriched the musical culture of France, rethought established musical forms and structures, cultural and aesthetic values of her era through the prism of objectification of musical styles, idioms of the past and present.