CONCEPTUAL MUSIC THEATER IN THE CONTEXT OF 21ST-CENTURY INNOVATIONS

Abstract

The purpose of the research is to analyze operatic works by composers Roman Hryhoriv, Illia Razumeiko, Connor D’Netto, Michel van der Aa, and John Adams, created in the field of conceptual music, with particular attention to the use of contemporary informational, media, and other innovative technologies. It has been revealed that the synthesis of technologies previously applied separately within different art forms contributes to the embodiment of conceptual ideas in the realities of the stage space. The following research methods were employed: historical, philosophical, comparative, and textual analysis. In addition, the specificity of the researched phenomenon, manifested in the integration of different kinds of arts, determined the application of an interdisciplinary approach to the analyzed works, as they harmoniously combine musical, cinematic, theatrical, literary, information-media, and other structural elements. The scientific novelty lies both in addressing the theme of conceptual music–musicological research on which began only in the 21st century–and in the choice of works, namely conceptual operas, which, in the context of their belonging to the direction of conceptual music, have not yet been studied. The operas were analyzed with an emphasis on their conceptual-structural component, which made it possible to reveal the features of the embodiment of conceptual music within the performing arts, with the use of the latest digital technologies. Conclusions. The geographical affiliation of the composers whose operas were analyzed–covering three continents, namely Eurasia, North America, and Australia–demonstrates the international character of conceptual music and art. Furthermore, the inclusion of modern technologies in the performances highlights the openness of conceptual ideas to experimental realization.