The Thesis is devoted to the research of the interpretational model of partes compositions, and the ways of its implementation in permanent and project vocal groups in the context of Ukrainian performing culture at the turn of the XX-XXI centuries
Ukrainian baroque music has been the subject of professional interest of scholars since late XX century in theoretical, historical, textual, source studies, as well as in other scientific analyzes. The work continues on deciphering the partes manuscripts, assembling single-part scores, finding the lost parts, editing and compiling the parts into a score, establishing the authorship of the partes works, etc. However, a targeted study of the contemporary performing discourse of Ukrainian baroque music has not yet been conducted; there are still many questions about the basic elements of performing interpretation.
The relevance of the chosen topic is determined by the demand of modern performance for interpretational guidelines of the partes work, which will produce acoustic results close to the original conditions, and the demand of modern musicology for a toolset for studying modern versions of performance of partes works.
Thus, the model of interpretation of a partes work is proposed as a tool for creating and studying versions of performance of such works, which may be relevant in modern domestic diverse choral and ensemble practices: for project and permanent groups, those groups that are followers of historical and creative-intuitive approach. The establishment of style-forming aspects of a performance, as well as precise interpretative approach to each of the aspects, together bring the sound of partes works closer to the original prototype in particular, deepen the knowledge of partes music in general, and popularize partes art in modern Ukrainian performance culture overall.
While creating this model, we used the principles of historically informed performance, the instruments of which are the most accurate for working with music of past eras. Thus, partes music in this thesis is viewed in the context of the worldwide baroque heritage, however, attention is focused on the inherent nation-specific features of partes works, the identification of which motivates the creation of a separate interpretational model that considers the unique aspects of past and present.
The thesis consists of an introduction, three main sections, conclusions, and a list of references and additions. The first section identifies the place and specifics of partes singing in Ukrainian performance culture at the turn of XX - XXI centuries, identifies the main postulates of "historically informed performance" and features of the development of this direction in domestic music practice, forms a model of interpretation of party work. In the second section, the contents of the main aspects of the model are deciphered, and style guidelines of the reproduction of the artistic text are formed. In the third section there is a practical approbation of the model of interpretation of a partes work within modern performing culture as a tool for researching performance versions of partes works and a tool for forming a holistic interpretive approach and guide to create a historically correct intonational version of a partes work. The conclusions summarize and indicate the ways and prospects for further research. The additions include interviews with performers of partes music, based on whose performance approaches a model of interpretation was formed. Also, a recording of the partes concert "Byst brany na nebesi" performed by the vocal project "Laboratory of Ukrainian Baroque Music" is attached.
The study of the performance of a partes work and the creation of an interpretational model as a tool for working with a such works introduce new perspectives in the field of research and performance of Ukrainian music of the past. The results obtained in the research for the thesis prove that partes music in the framework of modern performance culture can be subjected to sound reconstruction and performed in the context of modern reproduction principles of music of the past.
