Liu Y. The phenomenon of style integration in the chamber-vocal creativity of European and Chinese composers: from XIX to XX century

The dissertation determines the actual directions common to the Ukrainian and Chinese musicologists and aspects of the study of the chamber and vocal field of musical art, the musicological parameters of stylistic integration as a symptomatic phenomenon for the given area are determined. Discursive features of the categories of style interiorization – integration are identified. The study of the principles of genre contamination of chamber and vocal creation allows for a wider coverage of the ways and features of stylistic synthesis-integration in the vocal music of Russian composers; in particular, semantic positions concerning verbal poetic imagery (symbolism) in the chamber-vocal works of S. Taneev and S. Rachmaninov were revealed. The main direction of research is the definition of constitutive aspects and qualitative indicators of "musical poetry" as an integrated style of vocal art; in connection with this phenomenon, a typology of musical and poetic vocabulary in vocal works of Chinese composers is offered, features of similarity and differences of chamber and vocal creativity of European and Chinese composers are revealed. The typology of musical-poetic vocabulary in the vocal works of Chinese composers is proposed, which involves the identification of interpretive-thematic levels created by verbal and musical-poetic means, among which the support is positive affirmation and generalization - the symbolization of the ethical states of man (ethos of consciousness), which is represented by such directions, as a rising-glorifying; approval-glorification; contemplation-admiration; experience-reflection with mnemonic or dream-nostalgic intentions.