Stylistic Strategies and Musical Dramaturgy in Alla Zahaikevych’s Opera “Vyshyvanyi. The King of Ukraine”

Abstract

The purpose of the article is to analyse the musical dramaturgy, compositional architectonics, and timbral-textural organisation of the opera “Vyshyvanyi. The King of Ukraine” by A. Zahaikevych based on the libretto by S. Zhadan. The research methodology is based on a combination of general scientific and specialised musicological methods. Structural-analytical, stylistic, and dramaturgical methods are employed to investigate the compositional architectonics, musical dramaturgy, and timbral-textural organisation of the opera. Cultural and interpretative approaches are applied to identify the stylistic strategies of the composer’s writing, the peculiarities of interaction between orchestral, vocal-choral, and electroacoustic sound layers, as well as the principles of montage dramaturgy and contemporary compositional techniques. The scientific novelty of the study lies in a comprehensive musicological analysis of A. Zahaikevych’s opera “Vyshyvanyi. The King of Ukraine”, within which a systematic interpretation of its musical-dramaturgical model and stylistic strategies of the composer’s writing is undertaken for the first time. Conclusions. Special attention is paid to the specific interaction of symphonic-orchestral, vocal-choral, and electroacoustic sound layers that form a complex multi-level structure of the acoustic environment of the work. The principles of montage dramaturgy and cinematic thinking, which determine the fragmentary organisation of musical time and the non-linear narrative structure of the composition, are traced. The study identifies the specific use of sonoristics and instrumental imitation, which generate multi-layered timbral and textural strata within the musical fabric. The role of atonality and dodecaphonic principles in the organisation of musical material is analysed as a means of conveying psychological tension and existential dramaturgy. Particular attention is given to the use of aleatoric techniques in mass scenes, which contribute to modelling collective action and creating the effect of controlled sonic chaos. The significance of electroacoustic synthesis and the expansion of sound space is also determined, through which an integrated acoustic environment is formed in the work, combining orchestral, vocal, and electronic sound layers. The generalisation of these parameters makes it possible to outline the individual compositional strategy and to determine the place of the opera within the context of contemporary Ukrainian musical theatre.