CHANGES IN THE STRUCTURE OF THE SOUND MATERIAL OF ELECTROACOUSTIC WORKS BY UKRAINIAN COMPOSERS OF THE END OF THE 20TH – BEGINNING OF THE 21ST CENTURY IN THE CONTEXT OF SOCIO-POLITICAL CHANGES

Abstract

The article examines the relationship between socio-political changes and changes in the character of the sound texture of the electroacoustic works by Ukrainian composers of the late 20th and early 21st century. Based on consideration of a wide range of works by Anna Arkushyna, Yuri Bulka, Vitalii Hodziatskyi, Yevhen Dubovyk, Alla Zahayikevych, Alisa Kobzar, Maksym Kolomiiets, Anna Korsun, Sviatoslav Krutykova, Sviatoslava Lunyov, Oleksandr Nesterov, Kateryna Olenych, Georgii Potopalskyi aka Ujif_notfound, Oleksiy Retynskyi, Bohdan Sehin, Nazar Skrypnyk, Anton Stuk, Oleksia Suk, Yana Shliabanska, Oleksandr Shchetynsky, and others, main trends in the development of Ukrainian electroacoustic music from the beginning of the 1990s are determined. A detailed analysis proved the existence of significant changes in the nature of the formation of sound texture in the mid-1990s, 2000s and after 2014. The continuation of the intensive use of the sound aesthetics of early digital synthesizers in the 2000s, on the one hand, is superimposed on the emergence of new organic forms of sound, regardless of the original sound material. Based on the works by Theodor W. Adorno and Jacques Attali, the active development of the musical infrastructure since the beginning of the 2010s is defined as a kind of wave of opposition to the ruling regime. These trends, with the development of organic patterns in music, gradually evolve into an active incorporation of elements of contingency/probability. The intensive use of open form and elements of performativity in the works after 2013 may indicate the emergence of trends which reveal the vital need of quick respond to external challenges that appeared in Ukraine after the Russian aggression and later the full-scale military invasion of Ukraine.