Polystylistics as a Phenomenon of Postmodernism

The purpose of the article is to determine the role of polystylistics in the context of the cultural processes of the 20th century, among which the most important is the phenomenon of postmodernism. The research methodology is to apply the following methods: theoretical generalization and retrospective analysis that help to confirm the importance of the proposed statements in theory, historical and cultural method, which characterizes the essence of development processes of culture, dialectical and systematic approaches that allow the use of knowledge of different aspects of Art Studies and the related sciences, a hermeneutic method that is used to interpret the concepts used in the study. The scientific novelty lies in the systematic coverage of the problems of polystylistics in the cultural environment of the second half of the 20th – beginning of the 21st centuries, which is characterized by the phenomenon of postmodernism, with its intertextuality and style diversity. Conclusions. The second half of the 20th century was investigated with its synthetic stylistic blending, pluralism, multicolourism, which was also evident in polystylistics. The connection of polystylistics with the search for new concepts that reveal the peculiarities of the style system of the second half of the twentieth century has been determined. Intertextuality is characterized as the basis of polystylistics, which demonstrates the methodology of artistic thinking and characterizes contemporary cultural space. Conclusions have been made regarding the composers’ thinking of the 20th century and the modern period of the history of music, which are based on the principles of interaction of cultures, expressed by their dialogue and polylogue, intertextuality, integration of genre-style features, manifestation of intercultural contaminations in the field of semiotics and styling processes. All these signs point to the polystylistic nature of postmodern music art.