The dissertation researches the poetic and intonation specificity of the chamber-vocal cycle in the work of Polish composers of the 19th and 20th centuries. The cycle of vocal miniatures, the typology of which was actively formed during the last two centuries, is in fact «a consolidation of a single miniature to the level of a large-scale concert-chamber musical form» (Y. Radkevich), reflecting such an expressive quality of it as the fixation of the «big in the small». The main connecting means in the pair «music and word» is the musical-intonation beginning, which is directly related to the categories of style and genre in music, as well as to national «models» of their reproduction. On this basis, the theory of the genre of the vocal cycle is built, which covers its historical-genetic, normative-stylistic and individual-creative metamorphoses.
What has been said is fully correlated with the historical development of the vocal cycle in Polish music of the 19th and 20th centuries, which reflects both the complexity of its genre-style «models» and the specifics of the Polish national «image of the world». The popularity of the chamber-vocal heritage of F. Chopin, S. Monyushko, K. Shymanovsky, M. Karlovych, I. Paderevskyi, H.M. Guretskyi, V. Lyutoslavskyi and other authors in the world performance practice prompts a comprehensive study of the named genre field, which and now needs generalizations of the musicological and historical and cultural order.
The purpose of the work is to identify the poetic and intonational uniqueness of the chamber-vocal cycle in the spirit and style of Polish music of the 19th and 20th centuries.
The methodological base of the research is the cultural-historical approach in musicology, inherited from B. Asaf'ev and her followers. The methodology of the work has a complex nature and is based on a combination of the principles of art history, musicology, historical-typological, cultural and genre-stylistic research, which together reveal not only the genesis and historical-evolutionary paths of the chamber vocal cycle in the European music-historical practice of the past and present, but also in the heritage of Polish composers of the XIX-XX centuries, involved in the named genre sphere and the formation of its national «model».
