Osoka O. Theatricality as a basic factor of the Romantic musical culture of the first half of the nineteenth century

The dissertation investigates the phenomenon of musical culture of the Romantic theatricality first half of the nineteenth century. Relevance of the proposed subject is to examine the essence of the phenomenon of« theatricality »; in terms of new theoretical approaches: at first, as the product of a purely theatrical culture, theater arts, theater history, social interactions, and secondly, as a transition from one work of art a series to another, as a neutral zone in the music, which combines various artistic phenomena at all levels, and thirdly, as a reflection of the subjective world of the composer, his spiritual quest romantic «culture for all». For the first time the phenomenon of musical culture of the Romantic theatricality first half of the nineteenth century became the subject of a special musical and cultural studies in terms of interdisciplinary understanding. The study identified factors theatricality in the music of the romantic composers of the first half of the nineteenth century - the mythology, entertainment, game element, dancity;suggests the notion of concordia discors as the basis for multilevel synthesis in the musical culture that will remove the contradiction between the music and noteless components of the phenomenon of «theatricality»;dominant systematic techniques сarnival («style Callot», «Serapions principle», the «principle of the angular window» and the regularities characteristic of «theatrics» in the works of Russian Romantic composers of first half of the nineteenth century: «internal» dialogue as time-space multifaceted, the attraction to the theatrical and entertainment and gaming associations, using dance rhythms and carnival-grotesque images mask. For the first time in Ukrainian domestic romances Musicology analyzed S.F. Delyusto in the context of romantic theatricality. Our study is set to the phenomena of «theatricality» for post-Romantic musical culture, which is caused by the desire to merge not only the different arts, styles and genres, but also the life and art.