Zotov D. Saxophone Performance in the System of Musical Art of the 20th Century

Thesis for Candidate of Arts degree in specialty 17.00.03 ‒ Music Art. ‒ Sumy State Pedagogical University named after A. S. Makarenko. ‒ Sumy, 2018. The dissertation is devoted to the definition of meaningful parameters of the saxophone functioning as a solo and ensemble instrument on the basis of comparison of the activities of European schools (French, German) and Ukrainian in the second half of the 19th and early 21 centuries. The historical genesis of saxophone performance as the newest phenomenon of European culture, which at the initial stage has become professional in the musical art of France and Germany, has been characterized. The specificity of psycho-emotional processes in the consciousness of the soloist-saxophonist, which opens an infinite number of basic mechanisms of functioning of the saxophonist performer apparatus, is revealed. As a result, the concept of «interpretative model», «mnemonic performance», «collective improvisation», «artistic motivation» was introduced into the scientific circulation of modern interpretation. The methodology of the thesis is a complex of general scientific and special methods. Historical – contributed to the study of the experience of European performing schools (saxophone traditions of France and Germany); structural-functional – to revealed the meaningful content of composer works for a saxophone. Systematic approach used for understanding of the saxophone development tradition of academic orientation in Western Europe. The terminological method has allowed making a correlation between the specialized terms involved in the field of Saxophonology («performing school», «musical thinking», «psychology of the performer», «artistic communication»). The genre-style approach revealed the correlation between the typical and individual composer principles of the organization of a musical composition. Interpretative assisted in separating the performing style of saxophonist work. On the basis of the psychological approach, the effect of deep thought processes in the consciousness of saxophonists is revealed during interpersonal communications of various formats. The specifics of the development of saxophone performances on the territory of Poltava region are considered; the activities of the founder of saxophone art H. I. Holovnya are examined. The peculiarities of V. Runchak’s creative method on the material «Concert for a Saxophone with Chamber Orchestra» (1987) and «Homo Ludens I» (1991) for a solo saxophone are proved. Key words: saxophone performance, French saxophone school, German saxophone school, Ukrainian saxophone tradition, interpretation reflexion, performing model, V. Runchak, concert for saxophone.