Arefieva E. Poetics of Igor Stravinsky as a theory of compositional synthesis: culturological analysis

The dissertation research is devoted to the analysis of problems of formation and functioning of systems of poetics, in particular musical poetics in culture of the XX - th century. I. Stravinsky's poetics is reconstructed as a culturological synthesis of theory and practice, the author's model of compositional synthesis. It is proved that poetics is one of the leading means of compositional tools in art, in particular in music. The anthropological dominant of I. Stravinsky 's poetics (anthropological meaning of a musical phenomenon as an analogue of human integrity) as a basis for constructing a kind of authorial phenomenology - poetics as a manifestation of harmonizing origins of compositio - is determined. Poetics is defined as the theory of composition, dialogue of cultures, rhetoric. I. Stravinsky's musical poetics is presented as a synthesis of arts, in particular a synthesis of musical elements and ballet exercises in the works "Sacred Spring", "Parsley" and others. The choreographic principles of I. Stravinsky's musical composition are reconstructed as a chorea and arete in the transcription of musical innovations of the twentieth century. The folklore origins, stylistic, genre and vocal components of the composition of I. Stravinsky’s works as an integral part of his musical poetics are analyzed. It is proved that the musical poetics of I. Stravinsky in the culturological and musicological space of the twentieth century is an original creative work that encourages non-traditional reading and interpretation of figurative instruments of the composer.