The musical art of the twentieth and twenty-first centurіes illustrates the process of searching for new approaches to the illumination of the surrounding realіty, which іn turn requіres musіcologists to pay constant attentіon to the proper analytical tools when studying musical material. One of the cornerstone problems remains the comprehension of development by both composers and researchers, because this category is manifested in all elements of the composition of a musical work.
At the same time, the cardinal changes in the compositional logic of the twentieth century, their complex nature only exacerbate this problem, calling into question the meaning of the traditional terminological apparatus, which stimulates the process of its further rethinking - updating, in order to properly cover the problems of exposition and development in works of contemporary music.
The present thesis examines derivation in the aspect of the development of musical material on the example of works by composers of the XX-XXI centuries. This concept is new to national musicology, but has a long history of development, as well as a well-established semantic meaning associated with the rejection of something, the formation of something new. The concept of «derivation» has a deep content and a wide interdisciplinary context, as a result of its spread in various fields of science and art, including rhetoric, poetry theory, mathematics, ballistics, biology, linguistics, etc.
The use of derivation in the linguistics of the twentieth century, in particular in the studies of the Polish linguist J. Kurylowich, makes it possible to extrapolate this concept to the plane of musical speech, due to the approximate nature of its functioning. The aspect of the versatile use of derivation is represented in the work by drawing parallels between the treatises «Der vollkommene Capellmeister» (1739) by J. Mattheson and «Die allerneueste Art, zur reinen und galanten Poesie...» by the German poet C. F. Hunold, which reveal not only the similarities in the theoretical views of the two artists on derivation, but also allow us to identify specific manifestations of this type of development in the composition of a musical work.
At the same time, the text of the study notes that derivation is used in contemporary foreign musicological texts. Western European and American sources have deepened the idea of derivation as a kind of index of connections between the constituent elements of a particular work, which can determine its artistic integrity in its variability. The presented studies represent a more generalized character of derivation as a type of development. At the same time, the paper notes that in English-language texts, derivation is used rather at the «everyday» level than as an established term of the conceptual apparatus.
In general, in musicological research, the concept of derivation reveals various aspects of the functioning of the original and derivative elements of the material of a musical work, as well as their role in the formation of the structural organization of the compositional whole, which corresponds to the universality of «changing the original». This aspect reveals the interdisciplinary affinity of musical art and rhetoric, poetics and linguistics, and also allows us to go beyond the narrowly specialized problems of theoretical musicology into the space of universal categories of the surrounding existence.
Derivation, despite its widespread use in the linguistics of the twentieth and twenty-first centuries, has not yet found sufficiently deep coverage in the national musicology. It seems that the introduction of this concept into the musicological discourse will reveal the specifics of the development of works by contemporary composers, as well as provide an analytical clarification of the composer's idea.
It should be emphasized that the consideration of the subject of the work was based on two important concepts: development, an immanent quality of musical art, which, according to Nadiia Horiukhina, is the most universal category of musical phenomena, and formation. At the same time, the concept of derivation defines a type of musical development that manifests itself at the syntactic level, when primary syntactic formations (author's or non-author's) manifest their formative function and at the same time only relatively manifest themselves at the level of thematic, i.e. become the intonational idea of the composition of the work (composer's idea), as well as an important element of the unfolding of the musical composition.
For a better understanding of the place of derivation, a hierarchical classification consisting of three levels is presented. The first level includes the general concepts of development and formation, the understanding of which is based on N. Goryukhina's «The doctrine of musical form».
