Fartushka O. Choral polyphony in the system of composing style (on the example of the creative work of P. Hindemith, I. Stravinsky, and O. Shchetynsky).

The dissertation is devoted to the research of choral polyphony as a phenomenon and doctrine in the context of individual style syst ems of the 20th century. The urgency of the topic is stipulated by the need to generalize the laws of choral polyphony, available in the composing creativity of the 20th century and their genre and style manifestations in choral art; substantiation of chor al polyphony as a category of modern choral studies. The study of choral polyphony as a specific system of thinking in the musical culture of the 20th century is of great practical importance for choirmasters inter preters of complex choral scores, which contain essential erforming and stylistic differences from samples of choral genres of European music of previous epochs thus determining determining thethe pragmaticpragmatic "resonance""resonance" ofof thethe relevancerelevance ofof thethe topictopic ofof thethe proposedproposed researesearch. The object of the research is choral art in the unity of composing creativity and performance; the subject is choral polyphony as a fundamental constant of stylistic thinking of composers of the 20th century. The material of the dissertation is as follows: 1) scores: "Canticum sacrum" by I. Stravinsky; Requiem When Lilacs Last in the Dooryard Bloom'd by P. Hindemith, choral fugues from cantata and oratorio compositions by P. Hindemith; O. Shchetynsky's choral symphony "Know Yourself" and the choral cycle a cappella "Slobozhansky Songs"; 2) some contextually involved compositions by G. Ligeti, A.Schnittke, I. Shcherbakov, D. Bocharov; 3) available audio recordings of the compositions.