TEMPO-RHYTHM PIANO MUSIC OF A DOMESTIC COMPOSER MYROSLAV SKORYK

Abstract

Characterized: individual characteristics of diverse metric, tempo, rhythmic, dynamic, articulation of variance, figurative theme, intonation-harmonic spectrum of piano music of a domestic composer Myroslav Skoryk. The proposed generalized, art-scientific analysis of the metric system of the specific tempo-rhythmic music language, specific works of various piano genres: folklore (cycle "In the Carpathians", "From the children's album", "Kolomyika", Variations), the baroque and classic, based on genre model of past eras (Partita № 5, Toccata, preludes and fugues), jazz ("Blues", "Three extravagant dances," paraphrases) associated with the subordination of the implementation of the substantive aspect of the works. Based on the analysis it is concluded that one of the angles of artistic-didactic process is the development of tempo-rhythmic music performance. It serves artistic and didactic recommendations for young pianists.

Piano pieces by M. Skoryk possess varied metric, tempo, rhythmic, dynamic, articulation variance, wide imagination-thematic, intonation-harmonic spectra. Therefore, their performance consists in organic subordination of temporhythm to artistic expression. Tempo-rhythm is the speed of musical pulsation intended for expression- content semantic essence of the work. Tempo-rhythm depends on the nature of music, genre, meter, texture, articulation, etc. Dependence of the real swiftness of the pace of the work on a number of characteristics, including: rhythmics, revealed in the proportions musical values; unit of counting referred to in bar rate of long or short duration phrase or severe or limited articulation. Thus there is variable value of tempo terms, where the acting factor determining the swiftness of compulsory acts is its dependence on rhythmic bases at all levels of musical works. Personalized Skoryk’s rhythmic affects the phrasing and associated tempo and dynamic changes, accents, leagues, decryption of melisma, etc. This definition of swiftness is largely originates from the interpretation of rhythmic base, i.e. the characteristics of measure-rhythmic, dynamic, general syntactic structure of musical phrases.

The swiftness and its steady hold are particularly characteristic of "Burlesque", "Kolomyyky", "Folk Dance" and some other works by the composer. In Skoryk’s piano works in connection with such modifications of measure tempo-rhythmic deviations occur both within one group and cycles (phrases). In the play "Singing in the mountains" tempo-rhythm, thanks to dynamic movements, fermata stops, agony accents, trills, changes in almost all 48 bars. Conversely, the "Toccata", where measure varies 106 times from all 278 bars, the measure is crucial in rhythmic mosaic. The measure structure of the “Chorus" from Partita № 5 intensively changes. In the "Polyphonic Play" core measure 3/4 changes 10 times into 2/4. However, in the Prelude and fugues the composer retains the classic genre organizing role of measure that to some extend restricts the extent freedom of tempo. In each of the 8 parts of "Kolomyika" tempo-rhythmic nuances change several times. By measure designation M. Skoryk emphasizes dance foundation of the work: 3/4 ("Waltz", "Folk Dance", "Exit and Something Spanish-Moorish", "The Pop-music Play"); 2/4 ("Kolomyika"), 6/4 ("Blues"), 4/4 ("Sad Blues", "Cancan From an Old Gramophone plate").

Postmodernist style of M. Skoryk’s piano music is not only associated with individual characteristics of accordance , but also the original accentuation, that reinforces the relationship of harmonic constructions, rhythmic formulas, melodic ascents, making sforzando volume more dynamic, melodic and harmonic beats and textures. In the works of jazz style genre ("Blues", "The Pop-music Play", "Sad Blues", " Cancan from an Old Gramophone Plates", "Three Extravagant Works," paraphrases "Moonlight Sonata", "Apasionata", "By Eliza", "Madame Butterfly") the composer brings classical type of piano music closer to popular contemporary music, using gentle dynamic-agony tradition of rhythmic pulsation energy and expressive expressiveness of its "failures", i.e. spontaneously sensual atmosphere, which is created by specific elements of jazz tempo-rhythm.