Yastrub O. Ukrainian spiritual singing in the composer’s interpretation: from M. Lysenko to O. Kozarenko

The research is devoted to the substantiation of the conceptual foundations of the composer's interpretation of Ukrainian spiritual singing in the creative practice of the end of the 19th and 21th centuries. The urgency of the topic is stipulated by the synchronization of Ukrainian spiritual singing as a historical phenomenon studied in the field of Christian anthropology of music and modern performing practice directed at drawing attention to the masterpieces of national spiritual culture (including those in the field of education). The purpose of the research is to determine the conceptual foundations of the composer's interpretation of Ukrainian spiritual singing in the creative practice of the end of the 19th-21st centuries. The object of research is Ukrainian spiritual singing in a variety of forms and genres of historical existence; the subject is its composer's interpretation in professional music at various stages of national style formation. The material of the research is scores of choral compositions by Ukrainian composers of the late 19th and 21st centuries and their available audio and video recordings: 1) spiritual compositions a cappella by M. Lysenko; choral scenes and episodes of the opera "Rizdviana nich" by M. Lysenko; 2) "Velyke slavoslivia" from "Vsenichna", the kontakion "Zi sviatymy upokoi" from "Panakhyda" by K. Stetsenko; the psalm "Oi khto, khto Mykolaia liubyt" by O. Koshyts; 3) "Mylost myra" from "Sluzhba Bozha" (1967) by M. Fedoriv; 4) "Оstrozkyi Triptych" (1994) by O. Kozarenko. The scientific novelty of the obtained results. For the first time in musicology: the concept of Ukrainian spiritual singing as a phenomenon of composing interpretation in the creative practice of the late 19th – 21st centuries has been formed; the method of analysis of the composer's interpretation of samples of Ukrainian spiritual singing has been proposed; the author's definition of Ukrainian spiritual singing is provided; the complete corpus of M. Lysenko's a cappella spiritual choirs has been analysed; we singled out genre and style constants of Ukrainian spiritual singing in the composing creative work of M. Lysenko, K. Stetsenko and O. Koshyts; the continuity of spiritual singing in the liturgical creative work of composers of the Ukrainian diaspora of the second half of the 20th century (M. Fedoriv) is clarified; a systematic analysis of O. Kozarenko's "Оstrozkyi Triptych" was carried out as an example of the development of Orthodox monody in the composer's creativity of the late 20th century. The following has acquired further development the position of the concept of sacred creativity of Ukrainian composers in the context of national musical and semiotic processes. The Conclusions state that the cognition of the laws of spiritual singing is revealed in the historical chronotope of culture through the creative work of the artist as homo credens. The musical and theological conceptual sphere consists of the following concepts and categories: etymon of "spiritual"; the image of a human homo credens, a representative of choral (congregational) creativity, where the fundamental principle is the singing voice (homo cantor) as the most perfect musical instrument; the angelic nature; Divine communication; prayerfulness. A historical and stylistic typology of Ukrainian spiritual singing, which is embodied in the forms and genres of liturgical and paraliturgical creativity in the space-time of musical culture, has been proposed. The author's definition of Ukrainian spiritual singing, has been introduced into scientific circulation. Ukrainian spiritual singing is a phenomenon of musical and performing culture, which is objectified in the historical chronotope in the creative work of homo credens according to the laws of communion in various forms/genres of liturgical and paraliturgical singing art. The analysed complete body of M. Lysenko's a cappella spiritual compositions testified to the embodiment of the conceptual foundations of his compositional interpretation: prayerfulness, logos nature, continuity. The role of the spiritual creativity of K. Stetsenko and O. Koshyts as the founders of national style formation in the musical culture of the first third of the 20th century has been pointed out. The continuity of spiritual singing in the creativity of artists of the Ukrainian diaspora of the second half of the 20th century has been clarified. Сonsideration of M. Fedoriv's "Sluzhba Bozha" proved the reliance on the liturgical tradition of Ukrainian spiritual singing. The culture-creating mission of Ukrainian spiritual singing in the composer's practice of the late 20th-21st centuries has been established. Using the example of the analysis of O. Kozarenko's "Оstrozkyi Triptych", the correspondence of the composer's interpretation to the Ostroh chant as a standard of church singing art is highlighted through the composer's feeling of the "historical memory" of the people.