Perepelytsia M. Theatricality in non-theatrical music genres of creative work by Karmella Tsepkolenko

The thesis deals with problems of the manifestation of theatricality in non- theatrical music genres, which problems are actually pressing, but simultaneously remain the least studied. The elucidation of this topic has shown the complicated dialogic nature of relationships between the composer and the theatralized art-space in contemporary music, what has made it necessary to use a broad contextual approach to the analysis and study of the latter. The fundamental properties of theatralization have been elucidated and the methods of its reflection in the composer’s form of non-theatrical music genres have been identified as exemplified in K. Tsepkolenko’s chamber and symphonic creative work. Based on the analysis of her work, a model of theatricality has been conceptualized and the ways of its impact on the structure and form of music work have been investigated. The principles of theatricality turn the composer’s thinking in chamber and symphonic music to the instrumental theatre. The ‘scenario development’ (K. S. Tsepkolenko’s know-how) becomes the basis for unfolding the theatralized events within a music piece, a symphony or a concerto. The study has examined three forms of theatralization: internal, external and double forms of theatralization. All the forms are built on the principles of the ‘representational theatre’ that assume the third-person narration. The study has identified the growing role of theatralization as a method of creating new contexts, forms, styles, music language, notation and novel sound systems.