Symbolism of Genre Constructions in M. Roslavets by Their Origin in Culture of Symbolism

Abstract

The purpose of this article is to trace the specifics of the expressive trends of the twentieth-century modern-avant-garde in symbolism and to reveal the roots of primitivism-futurism in it, which were clearly evidenced by the foundations of the art of the "new youth" of the 1920s. The research methodologicay is based on the intonation approach of B. Asafiev’s school in the works of Ukrainian musicologists, including T. Verkina, O. Kozarenko, I. Liashenko, O. Markova, O. Sokol, O. Ryzhova, using research methods of comparative-stylistic, hermeneutical, biographical-descriptive, and analytical-typological. The scientific novelty of the work is manifested in the specificity of tracing the structural indicators of symbolism and its primitivist-futuristic branches, recognisable in the miniaturization of M. Roslavets' thinking on the example of his piano heritage. Conclusions. Roslavets' supercompressed miniatures are a natural reincarnation of the symbolist dematerialising thinking that gave symbolist works, including those of Debussy, the ability to go beyond artistic boundaries into life-transforming actions that transform the theatrical embodiment of the mystery into mystery as such. M. Roslavets's legacy deserves careful attention as an embodiment of theoretical abstraction in the artistic space, which corresponded to the establishments of a number of trends, contemporary developments of the composer-theorist (verismo-naturalism-socialist realism) and especially futurism with its neo-separateness of political and artistic activities. Roslavets's piano "superminiatures" constitute an intellectual declaration of the artist and citizen-actor.Key words: symbolism of expressive means of music, symbolism, primitivism, futurism, style in music, musical genre, pianistic style.