| Popis: |
The purpose of the article is to analyse the multigenre multi-issue of musical universalism of the composer Ihor Shamo as a consummate phenomenon in the national music culture of the Soviet era in the postwar years. Research methodology. Scientific provisions of the article are reasoned through methods (empirical-theoretical, chronological, analysis and synthesis, induction and deduction, art analysis), which revealed the main components of the multifaceted musical palette of the artist. The scientific novelty is that the author tries to comprehensively recreate a holistic, multifaceted picture of the artist’s compositional heritage, making a comprehensive analysis. Conclusions. The multifaceted creative heritage of the composer Ihor Shamo testifies to his artistic universalism as a phenomenon of the Ukrainian music culture of the second half of the last century. The artist’s works include three symphonies, choral folk opera Yatranski Ihry (Yatran Games), chamber and instrumental pieces and romances, piano cycle Tarasovi Dumy (Taras’s Dumas), 6 quartets, a large number of songs. Song became the most powerful genre via which I. Shamo confidently entered the art of composition in the first postwar decades. This genre reflects perfect form, bright themes, intonation and stylisation of folk melodies, a kind of harmony and texture. Having created cycles of both lyrical and heroic-patriotic songs, the artist developed and initiated separate genre-song varieties. Thus, the music pieces by Ihor Shamo have a wide range of genres and styles, which testifies to the high universalism of the composer, who made a significant contribution to the Ukrainian music culture of the second half of the last century. |
