This dissertation research is devoted to the analysis of the problems of theformation and functioning of the school of composition of Borys Lyatoshynsky.
The art school is reconstructed as a complex phenomenon, which in essence combines the manifestations of different creative and conceptual statuses of art: activities, systems of ideas, practices and social institutions. The place and role of an ”art school” associated with an outstanding creator in the cultural strategies of society are determined. It is proved that the art school conducts primarily creative activities, which transform and modify the established ideas about the cultural, communicative and genre-style status of artistic practices.
Borys Lyatoshynsky’s school of composition is defined as a kind of cocreation of artists of different generations, in the bosom of which artistic principles and models based on creative-exploratory, educational and innovative-avant-garde components are balanced. The art school is presented as a real form of joint and
fruitful activity of the leader and his followers. The cultural and communicative parameters of creative communities in their interrelation during a long period are analyzed (from the Ukrainian modernism of the 1920s to the “Kyiv Avant-Garde” of the 1960s, whose ideological inspiration was Borys Lyatoshynsky himself). It is proved that creative communities are marked primarily by the informal nature of communication, certain rules of the game, based on the search for new concepts and forms of self-expression. New cultural discourses outlined as a result of individual and collective creativity, which opposed the traditional notion of the artist’s role in post-war society, are set forth. It is noted that the creative school in the history of mankind emerged as a kind of art guild, the main task of which was to create and broadcast an art product. It has been historically shown that creative schools are formed around outstanding personalities on the principle of uniting connoisseurs and successors of artistic tastes. It is proved that exactly such a principle formed the basis of Borys Lyatoshynsky’s school of composition. We will add, that the origin and development of the school of the outstanding master is determined not only by certain socio-historical conditions, the logic of art and culture in general, but also by the personal and pedagogical qualities of the leader –– the founder of the creative community. It is outlined that the school as a cultural phenomenon arises on the foundation of a creative dynamic developed by the leader, marked by an innovative character. Within the framework of this doctrine, pedagogical activity appears as the basic element on which and in connection with which the research activity of this school develops, and communicative processes are built on the principle of teacher –– student. A
creative and educational school is a form of professional communication that has historically justified itself as one that operates on the socio-communicative and
integrative needs and creative interests born under the influence of the leader, as well as communication “work –– recipient”, traditions, innovations, and logic of
the discursive practices.
The relationship between tradition and innovation, which can be traced through the creative, performing, research, innovation and educational functions of
Borys Lyatoshynsky’s school, is extremely relevant in the research. In this case, the traditions did not turn into rigid stereotypes of thinking, and did not interfere with
creative pursuits, but formed a solid basis that motivated creative experiments and resulted in deeper understanding.
In addition, the ratio of tradition and innovation in the activities of the art school depends on the stage of the evolutionary-stylistic cycle in which this school
is (stage of its formation, maturity, assimilation with other schools). If at the stage of school formation elements of innovation prevail in its activity, then at the stages
of maturity and dissolution traditions may prevail (a situation when a new innovative product is no longer created, and the school is influenced by former traditions;
at the same time and on these stages the emergence of new transformational changes is not excluded). The art school as an aesthetic and artistic phenomenon of culture appears through a set of musical-linguistic signs-symbols, enshrined in the written tradition and deepened by the professional experience of composers and performers.
