COMPOSITION ARRANGEMENT OF THE MUSICAL AND AESTHETIC SPACE OF THE UKRAINIAN ORTHODOX TRADITION

Abstract

The article is devoted to the problem of the compositional structure of the cult music of Ukrainian Orthodoxy, as a multi-level construct, which is the basis of its figurative and semantic plot. In this context, certain connections of the space-time continuum of such music as a socio-cultural phenomenon in the mind of the recipient are traced, from the point of view of his understanding of the chronotope of this phenomenon. In the proposed analytical perspective, we claim that the existence of a musical work (in the mind of the subject of perception) is conditioned by the polyphony of its four main ontological levels: temporal process, sound chronotope, pure duration and spatial structure. The temporal process, as one of the ontological levels of the existence of a musical work in the mind of the recipient, ensures the awareness of the latter, on the one hand, of the pulsation of the rhythmic sequence of certain intonation formations, and on the other hand, the feeling of orderliness of the parts of the work in their formal and meaningful unity. At the second level of existence of a creative composition, through the prism of the consciousness of the subject of perception, the temporal process of sound is included in the chronotope – the temporal-spatial unity of the sound form. At the third level of awareness by the recipient of a musical piece, the sense of space-time dimensionality of the phenomenon disappears, and therefore the existence of the latter is reduced to the pure extent of the phenomenon in the Bergsonian sense, which is qualified by a sequence with an ingrained logic such as: all that sounded and was experienced in the recent past, is included in what sounds and is experienced in the present moment. The fourth level of existence is rooted in the process of the subject's awareness of the content of the musical work, which is manifested by a one-moment spatial representation of these or those artistic pictures that appear in the consciousness of this subject. Regarding the analysis of the musical chronotope of the sacred music of Ukrainian Orthodoxy, we interpret this feature from the perspective of spatiality, which is characteristic of its transcendent self-expression, through the prism of a clear expression of the national way of functioning of such music within the framework of its cultic ritual of the Ukrainian Orthodox tradition.