Innovations of Genre-Related Form in Karmella Tsepkolenko’s Piano Music

Abstract

The article is devoted to the innovations
in the piano compositions of Karmella
Tsepkolenko. The presentation of the present
theme demonstrates the complex-dialogical
character of the interrelations between
the composer and artistic space
in contemporary music, which requires a broad
contextual approach upon analysis and study
of the latter. By the example of Tsepkolenko’s
children’s pieces and concert piano pieces,
disclosure is made of the main parameters
of innovations, such as artistic stimulation,
the emotional-energetic context
of the composition, the scenary development
of the musical material, the principle
of synthetic mastery of art, and theatricalization
of non-theatrical musical genres. Scenary
development (the composer’s expertise)
becomes the foundation on which
the theatricalized events in the piano pieces
are unfolded. At the same time the eventful
groundwork of the music does not wedge itself
into the Procrustean bed of the traditional,
historically developed forms and genres,
but directs the composer’s thinking towards
innovation, towards the creation of new forms
and genres appropriate to the scenario.
In the children’s pieces and in the concert
piece the narrative unfolds according to
the principle of “the theater of representation,”
when the narration is stated from the third person. One of the manifestations
of the “theater of representation” is the inner
theatricalization, based on the dialogic
relations between separate structural
modules, thematic germs, juxtapositions
both within each of the musical structures
and between them. An important particularity
of inner theatricalization is the presence
of the element of play, bringing in the role
principle into the development of the musical
material, filling the composition with “images”
of the protagonists. Outward theatricalization
is also broadly used, and a special role
in outward theatricalization belongs to plastic
forms — these are gestures of the musicianactors,
their behavioral roles.
It is shown that the use of the principles
of synthetic mastery of art, relying on
the phenomenon of play in its inseparable
integrality, theatricalization as the main
principle of the unfolding of artistic form
and scenary development of the musical
material directs the composer towards
the creation of new aesthetic models, activates
the composer’s subconscious structures for
the creation of semantic complexes which are
new in their new in their form and content,
and fills the musical composition with complex
dialogic connections and play energy.