MODERN SAHNEDE MÜZİKAL PERFORMANSLAR: TÜR, TEMALAR, YORUMLAR

Öz

Bu çalışmanın amacı, müzik unsurları içeren çağdaş sahne yapımlarında tür çeşitliliği ve sanatsal-imgesel içeriğin özelliklerini belirlemektir. Araştırma metodolojisi, sanat ve müzikolojik analizlerin yanı sıra yapısal-anlamsal bir yaklaşımı da içermektedir. Ana tematik eğilimleri belirlemek için içerik analizi yöntemi kullanılmıştır. Çağdaş müzik performanslarının tematik içeriğinin incelenmesi, birkaç önemli eğilimi ortaya çıkarmıştır. İlk olarak, önemli sayıda yapım ulusal kimlik, tarihi olaylar ve kültürel mirasın keşfine odaklanmıştı; bu, Ukrayna edebiyat klasikleri ve folkloruna dayanan performanslarda yansıtılmıştı. İkinci olarak, sosyal konulara, özellikle savaş, göç ve değişen sosyokültürel koşullarda kendini arama temalarına belirgin bir ilgi vardı. Yaklaşımlar, geleneksel vokal-enstrümantal formları, multimedya teknolojileri, interaktif seyirci katılımı ve canlı performans ile elektronik müziğin birleşimi gibi yenilikçi sahne çözümleriyle birleştiriyordu. Sahne tasarımı ve koreografi tasarımına özel önem verildi; her ikisi de yapımların genel dramaturjisini güçlü bir şekilde etkiledi. Çalışma sırasında, çağdaş müzik performanslarının Ukrayna tiyatrosu ve müzik sanatının gelişiminde önemli bir rol oynadığı, geleneksel formların yenilenmesine, performans paletinin zenginleşmesine ve tiyatronun daha geniş bir izleyici kitlesi üzerindeki etkisinin genişlemesine katkıda bulunduğu gösterildi. Bu performanslar, sanatçı ve toplum arasında etkili bir iletişim aracı haline geldi ve aynı zamanda güncel kültürel ve sosyal süreçlerin bir yansıması oldu.

Anahtar Kelimeler

• vokal sanat
• müzik sanatı
• performans yorumu
• Ukrayna'nın müzik çeşitliliği
• tiyatro sanatı
• enstrümantal sanat

MUSICAL PERFORMANCES ON THE MODERN STAGE: GENRES, THEMES, INTERPRETATIONS

Öz

The aim of the study was to identify the features of genre diversity and artistic-imagery content in contemporary stage productions with a musical component. The research methodology included art and musicological analysis, as well as a structural-semantic approach. The content analysis method was used to identify the main thematic trends. The study of the thematic content of contemporary musical performances revealed several key trends. Firstly, a significant number of productions focused on the exploration of national identity, historical events, and cultural heritage – reflected in performances based on Ukrainian literary classics and folklore. Secondly, there was a noticeable interest in social issues, particularly themes of war, emigration, and the search for self in changing sociocultural conditions. The approaches combined traditional vocal-instrumental forms with innovative stage solutions – such as multimedia technologies, interactive audience engagement, and the fusion of live performance with electronic music. Particular attention was paid to scenography and choreographic design – both of which strongly influenced the overall dramaturgy of the productions. In the course of the study, it was demonstrated that contemporary musical performances played an important role in the development of Ukrainian theatre and musical art – contributing to the renewal of traditional forms, enrichment of the performance palette, and expansion of theatre’s influence on a wider audience. These performances became an effective means of communication between the artist and society, as well as a reflection of current cultural and social processes.

Anahtar Kelimeler

• vocal art
• musical art
• performing interpretation
• musical variety of Ukraine
• theatrical art
• instrumental art

Kaynakça

1. Arrington, L. (2021). On the way to late modernist theatre. Modernism/Modernity Print Plus, 5(4). https://doi.org/10.26597/mod.0186
2. Ayvazoglu, S., Ozcan, K. (2021). From court to theater in the 18th century: The birth of Ballet d’Action (Dramatic Ballet). Journal of Interdisciplinary Arts and Education, 2(1), 1-8. http://doi.org/10.29228/jiae.11
3. Beniuk, P.P. (2024). Features and issues of the choreographic staging of “Shadows of forgotten ancestors” by Lviv National Opera. In: V.V. Marchenko, L.M. Stepanenko, Z.Z. Denisyuk, M.M. Vantukh, M.A. Kulinyak, N.M. Korysko, M.E. Shabinsky, V.V. Bevzenko-Green, O.V. Chulyat, S.V. Shalapa (Eds.), Materials of the 9th International Scientific and Practical Conference Peculiarities of the Choreographer’s Work in the Modern Socio-Cultural Space (pp. 29-30). Kyiv: National Academy of Culture and Arts Management.
4. Brook, J., Renihan, K., Schnitzer, B. (2024). Creativity, subjectivity, and stability: The perception of Canadian musicians working in diverse cultural spheres. International Journal of Music Education, 42(4), 630-643. https://doi.org/10.1177/02557614231191144
5. Cancellieri, G., Cattani, G., Ferriani, S. (2022). Tradition as a resource: Reliable and radical interpretations of the opera tradition in the Italian opera industry, 1989-2011. Strategic Management Journal, 43(13), 2703-2741. https://doi.org/10.1002/smj.3436
6. Chaika, O. (2024). The impact of Russian cultural suppression on Ukrainian national unity. International Journal of Philology, 28(3), 41-56. https://doi.org/10.31548/philolog/3.2024.41
7. Devdіuk, I., Marchuk, T. (2022). Ukrainian modernist drama in the European context. Forum of World Literature Studies, 14(2), 343-357.
8. Frigotto, M.L., Frigotto, F. (2022). Resilience and change in opera theatres: Travelling the edge of tradition and contemporaneity. In: R. Pinheiro, M.L. Frigotto, M. Young (Eds.), Towards Resilient Organizations and Societies: A Cross-Sectoral and Multi-Disciplinary Perspective (pp. 223-247). Cham: Palgrave Macmillan. https://doi.org/10.1007/978-3-030-82072-5_9

9. Galatska, V., Dashko, N., Antonova, V., Filipenko, V., Davydenko, I. (2023). A person in the modern theatrical life of Ukraine: A journalistic perspective. Herança – History, Heritage and Culture, 6(1), 232-243. https://doi.org/10.52152/heranca.v6i1.790
10. Gänzl, K., Findlay, J. (2022). Musical: A brief history. Albany: State University of New York Press. https://doi.org/10.2307/jj.18252675
11. Graham, K.B. (2022). From Broadway to community: The work of a musical theatre conductor. Boulder: University of Colorado.
12. Guliyeva, I., & Kopanitsa, L. (2024). Folklore in contemporary music: Revival of cultural traditions. Interdisciplinary Cultural and Humanities Review, 3(2), 24-34. https://doi.org/10.59214/сultural/2.2024.24
13. Høffding, S., Satne, G. (2019). Interactive expertise of solo and collaborative musical performance. Synthesis, 198, 427-445. https://doi.org/10.1007/s11229-019-02339-x
14. Karzhaubaeva, S., Kopbasarova, A. (2021). Innovative strategies of the Turkestan Musical-Drama Theater. Central Asian Journal of Art Studies, 6(4), 148-158. http://dx.doi.org/10.47940/cajas.v6i4.510
15. Kelmendi, A. (2024). Sound identity as a phenomenon. Research on the cultural significance of music in ethnic and subcultural communities. Interdisciplinary Cultural and Humanities Review, 3(2), 16-23. https://doi.org/10.59214/сultural/2.2024.16
16. Krokhmalnyy, R., Krokhmalna, S. (2021). On some concepts of contemporary theatre art. In: E. Pluzhnik, A. Liubchych, L. Polyvana, I. Mushenyk, O. Kovalevska, L. Prudka, H. Slabkyi, D. Marchenko, R. Harchenko, S. Belei, L. Parashchuk (Eds.), VIII International Scientific and Practical Conference “Science and Practice, Actual Problems, Innovations” (pp. 49-52). Amsterdam: International Science Group. http://doi.org/10.46299/ISG.2021.II.VIII
17. Liao, M., Wang, J. (2022). The application of popular singing techniques in musicals. Frontiers in Art Research, 4(3), 51-53. http://doi.org/10.25236/FAR.2022.040310
18. McKnight, S.K. (2024). Constructing national identity through theatre in Ukraine in the 1920s and 2020s. Binghamton: State University of New York.
19. Monteiro, G.A.D.S., Páscoa, M.L.F.R. (2025). Rock schematicon: The romanesca in power metal. Musica Hodie, 25, e81441, 1-36. https://doi.org/10.5216/mh.v25.81441
20. Mould, S. (2021). Curating opera: Rethinking the past through opera and art museums. London: Routledge. https://doi.org/10.4324/9781003031017
21. Payne, N. (2021). The modern opera house. In: D. Staples (Ed.), Modern Theatres 1950-2020 (pp. 69-77). New York: Routledge. https://doi.org/10.4324/9781351052184-10
22. Putiatytska, O., Sakalo, O., Artemieva, V., Shchyrytsia, D., & Yakymchuk, O. (2024). The emergent properties of the opera genre in the contemporary musical context. Musica Hodie, 24, e79940, 1-25. https://doi.org/10.5216/mh.v24.79940
23. Radosavljević, D. (2022). Aural/oral dramaturgies: Theatre in the digital age. London: Routledge. https://doi.org/10.4324/9781003096337
24. Radu-Djurdu, C. (2022). A view of the 21st-century opera audience. Studia Universitatis Babes-Bolyai – Musica, 67(1), 119-137. http://dx.doi.org/10.24193/subbmusica.2022.1.08
25. Rybchenko, O. (2021). Artistic and substantive evocation of folk traditions in the Ukrainian Theater at the beginning of the XX century (based on the materials of the "New Art" Journal). Art and Design, 4(1), 107-119. https://doi.org/10.30857/2617-0272.2021.1.10
26. Sabri, S.S. (2023). The role of piano in the works of the musical-theatrical formation Nova Opera. In: O.R. Kopiyevska, L.M. Stepanenko, Z.Z. Denysiuk, O.I. Bugayova, S.O. Sobolevska (Eds.), The Latest Research on Culture and Art: Searches, Problems, Prospects: Materials of the All-Ukrainian Scientific-Practical Conference (pp. 70-71). Kyiv: National Academy of Culture and Arts Management.
27. Shepherd-Barr, K. (2010). Modernism and the theatrical performance. Modernist Cultures, 1(1), 59-68. https://doi.org/10.3366/E2041102209000057
28. Striy, O. (2024). Creative process in choreography: Search for ideas and solutions. In: O. Yakovlev, H. Ovcharenko, S. Chernyak, V. Skrypnyk (Eds.), Pop Art: Problems of Performing Practice, Education System and Scientific Research: Materials of the VII All-Ukrainian Scientific and Practical Conference (pp. 220-224). Kyiv: Kyiv Municipal Academy of Variety and Circus Arts.
29. Sydykov, A. (2025). Analysis of music genre terminology in Turkic languages from a linguistic perspective. Dragoman, 2025(18 Special Issue), 167-188. https://doi.org/10.63132/ati.2025.analys.37683913
30. Tarasenko, А., & Tarasenko, O. (2025). Interpretation of Lesya Ukrainka's feerie drama in the Panel Painting by R. Petruk, “Forest Song”. School of M. Storozhenko. Art and Design, 8(1), 80-91. https://doi.org/10.30857/2617-0272.2025.1.6
31. Todea-Săhlian, D. (2021). The evolution of opera performance from scenographic wonders to 19th-century opera productions. Studia Universitatis Babes-Bolyai-Musica, 66(2), 213-224. http://dx.doi.org/10.24193/subbmusica.2021.2.14
32. Tomlinson, S. (2021). Theatre and opera. In: E. Griffey (Ed.), Early Modern Court Culture. London: Routledge. https://doi.org/10.4324/9780429277986
33. Tronchin, L., Bevilacqua, A., Yan, R. (2023). Acoustic characterization and quality assessment of Cremona’s Ponchielli theater. Applied Sciences, 13(6), 4057, 1-16. https://doi.org/10.3390/app13064057
34. Turschet, L. (2023). The musical metaverse: Visions, possibilities, and challenges. Personal and Ubiquitous Computing, 27, 1811-1827. http://dx.doi.org/10.1007/s00779-023-01708-1
35. Utz, K. (2021). Musical composition in the context of globalization: New perspectives on the history of music in the 20th and 21st centuries. Bielefeld: Roschifrova Verlag. http://doi.org/10.14361/9783839450956
36. von Germeten, G. (2022). We are also music lovers: Testing vocal tastes in higher musical theater education. Research Studies in Music Education, 44(3), 554-569. https://doi.org/10.1177/1321103X221081787
37. Williamon, A., Ginsborg, J., Perkins, R., Waddell, G. (2021). Performing music research: Methods in music education, psychology, and performance science. Oxford: Oxford University Press. https://doi.org/10.1093/oso/9780198714545.001.0001
38. Yan, I. (2022). Features of forming the repertoire of the Ukrainian music and drama theatre in the context of a nation-building (of the late XIX – beginning of the XX century). Bulletin of the National Academy of Managerial Staff of Culture and Arts, 1, 197-200.
39. Yefimenko, A.H. (2021). Ukrainian composers and vocalists in the world of new project opera creation. In: O.I. Samoilenko, I.S. Drach, S.V. Osadcha, M.Y. Severynova, M.R. Cherkashyna-Hubarenko, A.D. Chernoivanenko (Eds.), Modern Ukrainian Musicology: From Musical Artifacts to Humanistic Universals (pp. 169-195). Riga: Publishing House “Baltija Publishing”. https://doi.org/10.30525/978-9934-26-072-8-9
40. Betv. (2015, November 13). IYOV (opera-requiem) NOVA OPERA [Video]. YouTube. (Access link: https://www.youtube.com/watch?v=0AWFrzRNEBQ), [Access date: January 14, 2025].
41. Betv. (2017, November 13). Babylon: Opera-circus, NOVA OPERA [Video]. YouTube. (Access link: https://www.youtube.com/watch?v=Q1DuZ9tLi9w), [Access date: January 17, 2025].
42. Betv. (2018, March 29). The Ark. Ark, opera-ballet. NOVA OPERA [Video]. YouTube. (Access link: https://www.youtube.com/watch?v=1hfp0cuRbTg), [Access date: February 2, 2025].
43. Golynska, O. (2023). “DiscrimiNATION” – A new ballet by Radu Poklitaru. (Access link: https://mus.art.co.ua/dyskryminatsiya-novyy-balet-radu-poklitaru/), [Access date: January 22, 2025].
44. Kabatsii, M. (2023). Kyiv Modern Ballet presented the first premiere in a year of full-scale war. (Access link: https://life.pravda.com.ua/culture/2023/03/20/253432/), [Access date: March 1, 2025].
45. MUR. (2024, February 29). MUR – You [Romance] full album [Video]. YouTube. (Access link: https://www.youtube.com/watch?v=AHxhKPp6xAk), [Access date: February 15, 2025].
46. Opera-Myth “Ukraine – Terra Incognita”. (2023, February 17). Trailer: Opera-Myth Ukraine Terra Incognita [Video]. YouTube. (Access link: https://www.youtube.com/watch?v=quQXgzqSLhc), [Access date: February 7, 2025].
47. Pavlyk, R. (2020). Opera-myth “Ukraine – Terra Incognita” moloda opera. Lviv: Lem Station. (Access link: https://ukraine-young-opera.com/gallery/foto-opera2020-rostyslav-pavlyk), [Access date: January 28, 2025].
48. Sharamova, H. (2024). Lviv Opera presents the world premiere of the ballet “Shadows of forgotten ancestors”. (Access link: https://lviv.media/lviv/88629-lvivska-opera-predstavlyaye-svitovu-premyeru-baletu-tini-zabutih-predkiv/), [Access date: March 10, 2025].
49. Tkachenko, K. (2024). The authors of the release “You [Romance]” are going on a tour of Ukraine. (Access link: https://sil.media/p/avtori-relizu-ti-romantika-yidut-u-turne-ukrayinoiu-847578-926), [Access date: March 4, 2025].