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Polystylistics as a Principle of Thinking in the Works by Vladimir Mishle
Subbotin Ivan Aleksandrovich

PhD in Art History

Senior University Teacher of the Department of Music Theory and Composition, Federal State Educational Institution of Higher Professional Education "Saratov State Conservatoire named after L.V. Sobinov"

410015, Russia, g. Saratov, ul. Ordzhonikidze G.k., 12a, kv. 229


The subject of the article is the problem of stylistic synthesis in the works of contemporary composers. Polystylistics pecularities of vocal music by Vladimir Mishle are considered on the basis of the provisions and terms of Evgenia Chigareva’s theory that distinguishes two forms (contrast and mergence) and two types (collage and symbiosis) of interaction between the author's own and"different" styles. In general, the composer's music focuses on the peculiarities of the two polystylistic concepts — collage (inherent in the genre of fantasy characteristicof a number of choral, instrumental works) and symbiosis (prevailing in vocal and choral compositions). The research methodology is based on the theoretical aspects of polystylistics in the works by domestic and foreign scientists, and highlights a mental component of the individual original implementation of the stylistic synthesis. Stylistic modeling is a leading and at the same time poorly explored principle of thinking of composer Vladimir Mishle born in Saratov, which determines the novelty of the research. A vocal cycle to the verses by F. Garcia Lorca exemplifies the author's interpretation of the stylistic symbiosis of polar musical styles and art forms in the context of stylization, allusions, and "variations on the style."

Keywords: cante Hondo, allusion, stylization, the stylistic symbiosis, Lorca, Vladimir Mishle, Polystylistics, variation on the style, style collage, Inside-style relationships



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