Kopelyuk O. Ivan Karabyts Piano Art: Phenomenology of Style

The thesis is devoted to substantiation of I. Karabyts piano heritage significance in the discourse of the phenomenology of style, within which the unique figure of the outstanding composer, his creative life and contribution to the Ukrainian music culture of the second half of the 20th century is reflected. The content of the “phenomenology of style” concept is disclosed through the unity of composing and performing thinking: as a phased introduction to the spiritual aura of creative life, starting from the study of the piano style evolution to the creation of the own concepts of the artist’s works by contemporary performers. It is mentioned on the state of modern “Karabyts studies”, which contains the first G. Ermakova’s monograph (1983), articles of panoramic character in the collection “Vivere memento” (2003); two PhD theses by O. Haluzevska (2007) and O. Gurkova (2017). The stylistic constants of I. Karabyts creativity are determined: the general stylistic intonation (established modeharmonic, metro-rhythmic as well as texture and timbre complexes), chamber, symphonic style and symphonization of piano presentation. The role of performance concept, which is a way to understand, comprehend and reproduce a composer's text is highlighted.