Electroacoustic Dimensions of Ukrainian Instrumental Chamber Music: Synthesis of Traditions and Technologies

Abstract

The purpose of the article is to study composers’ strategies in the field of electroacoustics from the perspective of integrating global trends and national traditions in Ukrainian instrumental chamber music. The research methodology used in the study of electroacoustic compositions of instrumental chamber music includes a number of methods and methodological approaches, both special musicological and general cultural. The scientific novelty of the work lies in the analysis of composers’ strategies in the field of electroacoustic instrumental chamber music of Ukraine with a view to revealing global trends and national peculiarities. The study reveals the specifics of the integration of electronic technologies in the works of Ukrainian composers, which is expressed in instrumental chamber music through the combination of innovative sound with elements of academic musical culture, folklore and individual authorial concepts. Particular attention is paid to the disclosure of the phenomenon of art synthesis within electroacoustic ensemble works and to the understanding of the role of multimedia practices in the formation of a new type of artistic expression. A number of compositions of electroacoustic instrumental chamber music by contemporary Ukrainian authors are introduced into the scientific circulation, which allows us to comprehend the specifics of their artistic thinking at the intersection of traditions and innovations. Conclusions. The development of electroacoustic instrumental chamber music in the Ukrainian cultural and artistic space takes place within the framework of a synthesis of global innovative practices and national musical traditions, which testifies to the openness of Ukrainian musical culture to global processes while preserving national identity. The compositional strategies of the Ukrainian school of electroacoustics are characterised by a desire for synthesis of the arts, interactivity, and multimedia, which is manifested in the combination of electronics with acoustic instruments and theatrical, visual, and vocal performative elements. According to the results of the analysis of electroacoustic pieces of instrumental chamber music by O. Manuliak, A. Zahaikevych, and Y. Gomelska, it has been found that they are distinguished by emotional saturation, philosophical depth, and variety of timbre solutions achieved by expanding the sound space of acoustic ensemble sounds with electronic means. It is proved that despite the tendencies of unification of the language of electronic music under the influence of globalisation, Ukrainian electroacoustic compositions demonstrate national specificity. This is achieved through the use by Ukrainian composers of a combination of electronics, acoustic academic and folk instruments, authentic sounds and rhythms, and the introduction of ethnic themes, which contributes to the preservation of Ukrainian cultural traditions in new electroacoustic forms of artistic embodiment of instrumental chamber music.