The research focuses on tracing in the foundations of neo-gothic socio-artistic signs of post-postmodern basic archetypical indicators of national thinking (collegiality, cordocentrism, sophianism), including in the form of resurrected chantism in conjunction with old-church polyphony and folklorism, with signs of military songs in art famous singing groups of Ukraine of the last decades (including the vocal ensemble "Golos", the organizer and leader of which is the author of this study).
In this work, the hypothesis of the postmodern style measurement of postmodernism in music as Neo-Gothic, which replaced the neosymbolism of the postmodern/postvanguard, was put forward and tested by analyzes. And if postmodernism has destroyed some cultural stereotypes that associate high art and aesthetics with the male principle, and passive consumption of mass culture with the female one, today a number of new thinking cliches are being created that insist on the advantage of the female, feminist post-modern aesthetics over the male embodiment modernism and the “diffusion of the feminine-masculine” in the postmodern / postvanguard.
The best illustration of this position is the existence of ensembles-choirs taken for analysis. In them, the male principle is steadfastly been held byLviv's “Pikkardiyskaya Third”, which emerged and developed in the postmodern intrigues and has significantly changed the repertoire and style over the last twenty years. The Center of Ukraine, represented by the most famous “Lyonok” and “Oreya”, is a fruit of the male creative expansion, but fanned by feminist signs (the myth of “lyonism” and female bias in the name of the A. Vatsek ensemble). The female principle of Oriana’s action by Youg does not need to be explained.
Musical postmodern was determined in the combination of different musical styles and genres. And if music of the modern era was considered as a way of expression, then in the postmodern era music is rather a spectacle, a product of mass consumption and an indicator of group identification, which certified the theatrical intentions of the analyzed ensemble and choral groups. From the time of consolidation of postmodernism, the idea is being asserted that music is able to exist “by itself”, emancipating performance — and the practice of famous ensembles-choirs demonstrates the significant intervention of performers in the composer's privileges.
The emphasis on neo-Gothic indicators in the Ukrainian post-post-modern in this work constitutes and undoubtedly the historical “evocation of the Spirit” for the sake of national self-affirmation through art. It was born by church Orthodox roots, in which the knightly harsh-economic duma lyrics and ritual of the repentant lamentation certified the paths of artistic choices.
From the end of the twentieth century, we get the revival of the original genre source of Ukrainism - choral-ensemble singing, in which the individualism of a soul's path to God is not intertwined with egocentrism, melodic richness is strictly measured by interval-rhythmically harmonized indicators of community-unity. Artistic being is always predictive in the concept of the superiority of its compensatory function.
The neo-gothic of the post-postvantgarde in the “new trust” in Religious sincerity is Hope, built by the performers-creators, who take on the responsible burden of the continued existence of the mental expectations of the nation and the country of Ukraine.
