Shang Y. Darius Milhaud`s early chamber and vocal work: stylistic dimensions

The relevance of the research is conditioned by the necessity to study the work by Darius Milhaud that impresses not only with the nominative composition (443 works covering the full genres of Western academic music, including 19 operas and 19 ballets), but also with the depth and comprehensiveness of the artist's thinking. From the earliest to the last works, Milhaud sought his own ways of unifying distant cultural, genre and stylistic worlds, interaction of artistic traditions of different continents and musical practices. Awareness of the creative work of the composer, whom researchers call a "musical Proteus", becomes an important task of today's humanitarian science, because it reveals both the individual features of the artist's unique artistic world, and the fundamental processes of changing the principles of musical thinking in the 20th century in general. Only certain aspects of Milhaud's work come to the attention of Ukrainian musicologists, most often associated with the "exotic" component of his musical language and appeals to non-European musical sources, in particular, Brazilian folklore and American jazz. The artist's chamber-vocal legacy remains almost completely unlit, although the composer turned to vocal genres throughout his life, and the catalog of his vocal works includes about 100 names of representatives of the literary world of various eras, cultures and national schools. Of particular importance is the study of the chamber and vocal music by Milhaud, which was written between 1910 and 1919 and constitutes the main part of the creative results of this period. It is in the field of vocal music that the formation of the individual style of the composer as a whole system takes place. Therefore, the study of the ways of the formation of Milhaud's style in the field of vocal music in the first creative decade is an urgent question of modern Ukrainian musicology. The object of research is the vocal music of Darius Milhaud from the early period of his work. The subject of the study is the stylistic parameters of Darius Miho's vocal works of 1910 – 1919. The purpose of the research is to identify the main factors in the formation of the style of Darius Milhaud in the field of vocal music in the period 1910 – 1919. In the dissertation for the first time has updated and included in the Ukrainian musicological context a little-explained layer of D. Milhaud's work - early vocal opuses; ideas about the general strategies for the development of musical thinking of French composers of the first quarter of the 20th century developed in the musicological works of Ukrainian scientists; an overview of scientific views on the specifics of the formation of the Darius Milhaud creative figure and the characteristic features of his musical thinking introduced in Western musicology; the concept of the phenomenon of the creative personality of Darius Milhaud. Also were revealed the universal dimensions of Darius Milhaud's creativity in the aspect of understanding the specifics of the interaction of mental and socio-cultural vectors of realization in their integrity; the genesis and principles of formation of the individual stylistic system of Darius Milhaud; the peculiarities of the organization of the vocal cycles "Agricultural Machines", "Knowing the East", "On the Streets of Rio" (on the texts by Paul Claudel), as well as vocal miniatures on the texts by Leo Latil.