Codes of culture in modern musical creativity

Abstract

The purpose of the article is to summarize the issues of modern musical creativity with an emphasis on cultural codes. The methodology of the work is based on the use of scientific research methods, which are dominated by analytics, observation, comparative analysis in accordance and interpretation using a literary source; methods of analysis and synthesis in the selection of culture codes in literary, musical, musical and theatrical interpretation. The scientific novelty of the work lies in the fact that for the first time an analysis of culture codes was made in the musical directed by Andrey Bilous, composer Usein Bekirov "The Overcoat"; ballet Maurice Bejart, composer Hugo Le Bar "The Overcoat"; ballet Radu Poklitaru, composer Olexander Rodin "Wii". Conclusions. Based on the theory, the history of scientific research, culture codes are presented as well-known information in literary titles, their author, their style, genres, and means of musical expression. The musical and ballet genres are self-sufficient and are programmed for creative production, the transmission of information, and its preservation under different interpretations. The musical and the ballet "The Overcoat" have a common and different embodiment of the author's literary source. In the musical by A. Belous – U. Bekirov, the ballet by Maurice Bejart - Hugo Le Bar, the ballet "Viy" by R. Poklitaru – O.Rodin, the main events of the author's story are preserved, but conditionally and under the influence of genre features. The music of the works has a stylistic plurality, the composers turn to different intonation-rhythmic layers, but with all the changes, taking into account genre features, the codes of culture remained recognizable.

Key words: culture code, interpretation, musical creativity, musical and theatrical genre, musical, ballet.