Frasyniuk A. Play as a dialogical phenomenon in Maurice Ravel’s creativity.

The dissertation is devoted to the study of the stylistic dialogicity phenomenon in the compositions by Maurice Ravel and to the musical play factors identification of his symphonic and piano poetics. The main object of research is Maurice Ravel’s piano and symphonic music development and transformation process in the context of the late XIX ― mid XX centuries’ European musical art stylistic evolution. An attempt is made to analyze the figurative sphere and structure of Maurice Ravel's artworks in order to identify general play tendencies in terms of formation and the specifics of piano playing and musical culture interaction. The piano play is seen as a structural element and an artistic technique inherent in the musical artworks by Ravel. The playful Ravel phenomenon clarifies and deepens the idea of musical-performing interpretive thinking as a form of play that directly represents aesthetic value. It is proposed to study and define the piano playing phenomenon as an artistic, aesthetic and interpretive poetics factor. The piano play is seen as a structural element and an artistic technique peculiar to the musical artworks by Ravel. Ravel’s play phenomenon clarifies and deepens the idea of musical-performing interpretive thinking as a form of play that directly represents aesthetic value. It is proposed to study and define piano playing phenomenon as an artistic and aesthetic phenomenon and interpretive poetics factor. An attempt is made to reveal the significance of childhood theme in connection with the stylistic components of Ravel's music and to identify musical play principles and tendencies in his artworks in order to bring them to the level of formation in the context of the composer's authorial thinking. The characteristics of mirroring phenomenon in art are specified, as well as in the context of the interactive "play space" in some artworks by M. Ravel. Ravel's authorial piano thinking is characterized on the basis of orchestral translations analysis by means of a dialogical approach. New parameters of Ravel's authorial style are revealed, new interstylistic relations and original genre interpretations are opened on the basement of the stylistic synthetics of Ravel's music. In general, the dialogical principles of Ravel’s compositional thinking are considered as the author's refraction of musical text playful nature.