• Olena Vereshchahina-Biliavska Vinnytsiа Mykhailo Kotsiubynskyi State Pedagogical University (UA)
  • Nataliia Mozgalova Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University (UA)
  • Iryna Baranovska Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University (UA)
  • Yuliia Moskvichova Vinnytsia Mykhailo Kotsiubynskyi State Pedagogical University (UA)
  • Olesia Cherkashyna Vinnytsiа Mykhailo Kotsiubynskyi State Pedagogical University (UA)



postmodernism, polystylistics, monostylistics, religiosity, spiritual genres, meditation


The peculiarities of the world model and the human model in the Eastern European music art of the postmodern era were revealed. The research is based on a hermeneutical analysis of the contemporary Russian and Ukrainian composers’ works. The research method builds on the systematic and historical approaches. It allows to consider the individual musical text as a subsystem of a higher order system. The sociocultural context was considered. The scientific novelty consists in revealing the specifics of the Eastern European artists’ worldview of the last third of the XX and beginning of the XXI centuries. It is the consequence of studying their creativity in an anthropological dimension. The anthropological essence of the music of contemporary Ukrainian and Russian composers lies in a certain inconsistent polarity. The polarity is represented by the ironic and fragmented worldview combined with the religious quest. The awareness of the chaos and apocalyptic culture is combined with the religious support in its various manifestations. Therefore, the character in modern music has a dual essence. He is both marginal and a personality with strong spiritual support. In the works of contemporary Russian and Ukrainian composers, two postmodern worldview poles are organically combined: a destructive worldview and a desire for harmony. This polarity is caused by the crisis mentality of the modern post-totalitarian society.



Download data is not yet available.


Adamenko, V. (2007). Neo-Mythologism in Music: From Scriabin and Schoenberg to Schnittke and Crumb. Edition: NED - New edition Published by: Boydell & Brewer, Pendragon Press

Akishina, E. (2003). Semantic aspects of A. Shnittke’s analysis of creativity. Candidate’s thesis. Moscow: MGK.

Belge, B., Between, E. and U. (2018). Alfred Schnittke, Popular Culture and Serious Music in Late Soviet Socialism. Euxeinos, 8(25-26), 107-116.

Chizmich, M. (2011). Performing Pain: Music and Trauma in Eastern Europe. Oxford University Press.

Gulesko, I. (2002). Musical-artistic typology of the requiem in the European context. Kharkiv - Melitopol: Sana.

Jennings, M. D. (2002). Alfred Schnittke’s Concerto for Choir: Musical Analysis and Historical Perspectives. Doctoral dissertation, Florida State University.

Kholopova, V. (2003). Composer Alfred Shnittke. Moscow: Arkaim.

Kozarenko, O. (2001). Sacral creativity of Ukrainian composers of the twentieth century in the context of national musical-semiotic processes. Ukrainian musicology (science-methodology), 30, 138-146.

Kuznetsova, A., Kaishauri, Е. (2019). Spiritual and biblical themes in the works of А. Shnittkе. The science. Art. Culture, 8(23), 106-114.

Lehmann, Zh. (2018). Alfred Shnittke’s quest for a universal musical language in the penitential psalms (1987-88). Dissertation. Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign Urbana, Illinois, 159.

Moody, I. (2018). An Outline of History of Russian Sacred Music. Retrieved from

Moody, I. (2014). Modernism and Orthodox Spirituality in Contemporary Music. Joensuu: The International Society for Orthodox Church Music.

Sander, K. (2017). A New Musical Setting of the Divine Liturgy. In Orthodox Arts Journal, August 22. Retrieved from https//

Segall, C. M. (2013). Triadic Music in Twentieth-Century Russia. Doctoral dissertation, City University of New York.

Schmelz, P. J. (2009). Such Freedom, if Only Musical: Unofficial Soviet Music during the Thaw. New York: Oxford University Press.




How to Cite

Vereshchahina-Biliavska, O., Mozgalova, N., Baranovska, I., Moskvichova, Y., & Cherkashyna, O. (2021). ANTHROPOLOGICAL DIMENSIONS OF THE MODERN MUSICAL ART OF EASTERN EUROPE. SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference, 4, 716-726.