Olexandr Kozarenko's creativity in the context of postmodernism

Abstract

The article is devoted to the issue of the peculiarities of the embodi­ment of postmodern features in the musical space of Ukraine in the late twentieth and early twenty-first centuries. This period is charac­terized by the rejection of the generally accepted laws of musical art in favor of individualization of composers' creativity. The synthesis of styles, genres, and techniques becomes postmodern poetics and a new cultural tradition. Among the well-known national artists of the late twentieth and early twenty-first centuries, a prominent place be­longs to the figure of O. Kozarenko. The relevance of the study is re­lated to constructive changes in art, the dynamism of the musical sphere, and the original composer's creativity, which require art his­torical analysis. The purpose of the article is to determine the charac­teristic features of postmodernism and their embodiment in the works of O. Kozarenko. The question of the peculiarities of O. Kozarenko's creative method has repeatedly been the subject of research by such national musicologists as O. Komenda, N. Shvets-Savytska, S. Pavlyshyn, Y. Chekan and others. However, in our opinion, the analysis of the composer's creative style in the context of postmodernism re­quires a more thorough study. In O. Kozarenko's works, we can observe an original synthesis of postmodern aesthetics and national language, genre and style synthesis, search for new intonation colours, orches­tral combinations, use of allusion, aleatorics, and sonority. These and other features that are revealed in the author's instrumental, sym­phonic, and spiritual works are evidence of a postmodern personality. Having examined the peculiarities of O. Kozarenko's musical language on the example of the compositions «Five Wedding Ladkani from Pokuttya» «Concerto Rutheno», «Pierrot is Dead», we can conclude that the author's postmodern style is characteristic of both these works and other works by O. Kozarenko. The prospect of further re­search, in our opinion, is the analysis of traditional and innovative com­positional solutions of O. Kozarenko's sacred music.