The thesis is devoted to the research of the creative activity of the sound
engineer in the Ukrainian cultural space. The development and transformation of the
culture and art of the twentieth century is conditioned by the introduction of new
discoveries and technologies in sociality, which in turn contributes to the emergence
of new means of expressiveness in the work of musicians, architects, artists and
representatives of other creative professions. Sound recording becomes a new cultural
phenomenon that affects the enhancement of intercultural relationships and elevates
them to a qualitatively higher level.
The scientific works in the following areas have been analyzed: the theory of
creative activity; the history of recording; definition of the concepts of «sound
engineer», «sound director», «sound supervisor» and the characteristics of the
dualism of technology and art in the creative work of the sound engineer; theoretical
basics of sound processing; computer, multimedia and audio technologies; sound
recording in theatre, cinema, radio, television and musical arts; articles, monographs,
textbooks, including scientific works and scientific and pedagogical intelligence on
sound processing.
During the study of the theoretical foundations of the sound engineer creative
activity, we determined that it is a process of creating qualitatively new material and
spiritual values of culture, and sound engineering is defined as a multifunctional
sphere of creative professional activity.
An author’s classification of a sound engineer work was proposed. Such
classification was compared with the four types differentiated by the way of work,
characterized by sound technologies, peculiarities of performing creative activity,
principles of evaluating the quality of phonograms, the creative and the technological
interpretation.
It was noted that the creative and technological interpretation of the sound
engineer is one of the main types of creative activity during the implementation of
technological means of structure, form, where the author's concept of the work is
realized. This is an artistic process in which the sound engineer cooperates actively
and creatively with others individuals – performer, composer, and conductor.
For the first time, the creative work of Ukrainian sound engineers of the second
half of the XX – beginning of the XXI century was analyzed on the basis of archival
materials of the Republican Radio Broadcasting and recording House of the National
Television and Radio Company of Ukraine (hereinafter in the text RRBH); the
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concept of «space of phonocomposition» and «creative and technological
interpretation» were developed. Also the influence of the creative and technological
interpretation of the sound engineer on the phonocomposition of the piece academic
music was disclosed using the following examples of the comparative analysis of
such sound recordings as the first part of the symphony No. 5 by P. Tchaikovsky, that
was recorded by sound engineers of such recording companies as «EMI», «DG»,
«DECCA Music Group Limited», «Comora», RRBH. Also creative and
technological analysis of the sound recording of the first part of the symphony No. 3
by B. Lyatoshynsky RRBH was performed.
Also such archival materials as f.4915, articles 4-15, 4-18, units 480, 327, 6
pertaining to the creative activity of the RRBH were introduced into the scientific
circulation.
The study of the creative work of the sound engineers of the RRBH helped us
investigate the genre lines of their sound recordings. Namely: off-studio sound
recordings, broadcasting recordings of concerts, performances, TV programs
recordings – A. Belozerov, A. Mokritsky, T. Vinnitskaya, L. Bylchinsky, O. Fokin,
D. Cheško, Y. Shchelkovsky; Recordings of music of different genres and
compositions – V. Leschenko, A. Mokritsky, Y. Shchelkovsky. Sound recordings of:
works of great form (symphonies and instrumental concerts) performed by
symphonic, pop-symphonic and folk orchestras – A. Beloziorov, L. Bylchinsky, M.
Didkovsky, T. Vinnitskaya, Y. Vinnik, V. Leshchenko, A. Mokritsky, I. Prima, O.
Fokin, D. Cheško; Instrumental, ensemble and solo music – L. Bylchinsky, A.
Mokritsky, Y. Shchelkovsky, O. Fokin, I. Prima; opera performances and individual
operatic instrumental and vocal numbers – A. Beloziorov, L. Bylchinsky, T.
Vinnitskaya, A. Mokritsky, A. Fokin, Y. Shchelkovsky; fragments from the operetta
– A. Beloziorov and L. Bylchinsky; vocal works of the great form, vocal-instrumental
works – L. Bylchinsky, T. Vinnitskaya, A. Mokritsky, V. Leschenko; chamber
instrumental and vocal music, songs and romances, pop works – L. Bylchinsky, A.
Belozerov, Y. Vinnik, T. Vinnitskaya, V. Leshchenko, I. Prima, I. Stupka, A. Fokin,
D. Cheško, Yu. Shchelkovsky, V. Leshchenko.
The terms such as: «creative activity», «interpretation», «phonocomposition»,
«components of artistic communication» have been defined; features of the creative
and technological interpretation.
