POSTMODERN TROMBONE TENDENCIES: FROM L. BERIO TO V. RUNCHAK

Abstract

The purpose. The aim of the work is to explore the development and spread of the European postmodern compositional school, on the example of the most famous and iconic works for solo trombone from the earliest works to the present day. The close connection between the European and Ukrainian trombone compositional schools is also explored. The methodological basis The research methodology is mainly based on the corporate method, which made it possible to trace the connections between trombone works on the basis of comparative analysis. The historical and chronological approach helps to build a clear structure from earlier works to the most recent ones. The scientific novelty. The iconic trombone work, Sequenza V by L. Berio, is already well studied and is best and most deeply studied in the work of S. Demster. As for the Ukrainian composer V. Runchak and his work ‘Homo ludens VI, a pair of anecdotes on a well-known subject for trombone’, it is not studied at all. Given the genius of the work and the composer’s clearly articulated vision of contemporary postmodern trombone trends, musicologists need to study and popularize new Ukrainian trombone music in detail. Conclusions. Having considered the most famous trombone works of the postmodern era, we note a tendency to reduce the number of experiments and use the accumulated experience of the past as a foundation for the construction of contemporary works. The idea of expanding expressive means for the sake of expanding expressive means is becoming a thing of the past, and the artistic content and idea of the work itself are in the forefront. The term ‘non-traditional expressive means’ is finally losing its relevance due to its too frequent use for such a formulation. Instead, there is a need to master these expressive means (the use of bugles, flagpoles, multifonics, etc.) even at the early stages of learning the instrument, including acting – theatricality.