Non-linearity of a pianist-concertmaster’s artistic thinking in the context of the poetics of a vocal cycle (on the example of V. Hubarenko’s “Autumn Sonnets”)
Authors: Harkusha Mariia 
Published: February 2025

Statement of the problem. The article is devoted to the new qualities of the pianist-concertmaster’s thinking, which are formed in the process of analyzing the poetics of the modern vocal cycle. Issues of modern artistic thinking are actualized through a number of its features, the most important of which is non-linearity that allow us to single out those “points” in the work, which are markers of a meaningful turn, the choice of the path of development of musical thought and the interpretation of the text. The need arises of determining those parameters, thanks to which it is possible to detect and explore in performiance activities, in particular of accompanist, these “points of choosing” the vector of further movement in artistic time. We consider performance poetics to be one of such parameters associated with the specificity of musical intonation and the objective nature of an instrument. Mandatory analysis of a work from the perspective of performance poetics reveals different levels of the artistic text necessary for its understanding, which, in turn, creates conditions for the non-linear thinking of the performer, – a quality that can determine this or that artistic decision. Objectives, methods, and novelty of the research. The purpose of the article is to illustrate the nonlinearity of the pianist-accompanist’s thinking in the context of the poetics of the modern vocal cycle. To reveal the topic, morphological analysis of creative activity, psychological criteria of divergent (non-linear) thinking of a creative personality, genre and style, structural and functional analysis of the performance poetics of the vocal cycle were used. From the traditional performance approach, the analysis of poetics is distinguished by a purposeful consideration of the interaction of levels and dominant components of the work, as well as the role of the performer in artistic communication; hence, the chosen research angle contains an element of novelty. The vocal cycle “Autumn Sonnets” is examined from the standpoint of non-linear thinking, and “choice points” both, for the ensemble and, separately, for the pianist who illuminates the hidden content accents of the piece, are determined. Results and conclusion. The definition of the thinking of a modern pianistconcertmaster as non-linear is determined by the post-non-classical style of culture of the two decades of the 21st century. Chamber music, in particular vocal music, activates the polyphonic nature of the accompanist’s performance in certain areas, due to its natural detail and dialogicity. A crucial factor that shapes non-linear thinking, which moves along different paths from “points of choice” to a holistic interpretation, is the individualization of genre, namely the vocal cycle, that is demonstrated by V. Hubarenko’s “Autumn Sonnets”. The author creates parallel plans, in particular pictorial and abstract, epic and lyrical, scherzo and song, placing “choice points” for performers at various dramatic moments of the work. The entire complex of actions directed by non-linear thinking is defined as the creative cluster of the performer.