BAYAN AND ITS PLACE IN THE UKRAINIAN MUSIC CULTURE OF XX – XXI CENTURY
Journal Title: Актуальні питання гуманітарних наук: Міжвузівський збірник наукових праць молодих вчених Дрогобицького державного педагогічного університету - Year 2018, Vol 19, Issue 2
Abstract
Bayan is an instrument that is presented in the space of XX – XXI centuries in different directions of musical art. You can mark the use of a bayan as a solo instrument, a member of an ensemble or orchestra. In musical culture, the bayan is often used as an instrument that is associated with playing a material of folk origin. This is not surprising given the time when the instrument originated. Its occurrence dates back to the end of the XIX century, which takes place under the mottos of the romantic worldview, in which particular attention is drawn to folklore, folk sources, which are perceived as a source of inspiration and material for the formation of national cultures. A number of authors note that the bayan for its not too long, compared with other tools of existence, was able to evolve significantly. It means both the interpretation of the instrument and its application in different directions of the musical space. It should be noted that the first performers who played on the accordion performed mainly processing folk songs. And quite often they created the processing them- selves. Distribution of the instrument and interest to it by the performers and composers was due to a number of factors, including the technical capabilities of the instrument, the mobility of the bayan, the ability to play both the accompani- ment and the melodic line, the ability to adapt the instrument to the specifics of folk music of different regions. One of the most widespread collectives, where the presence of a bayan is compulsory – these are folk instrumen- tal ensembles. In such ensembles can combine instruments of different types: wind, string-pinch, drums. The focus is on choosing different tools that will contrast each other and complement it. This is a string-bowl (violin, bass, double bass, lyre), string-pincers (cymbals, banduras), wind instruments (trumpeters), percussion instruments (drum, plates) and accordion. In such warehouses, the bayan is given the role of harmonious support, filling the invoice. Modern domestic performance realizes a change in the interpretation of instruments. So in the 20th century, attempts are made to include the bayan in the pop and jazz sphere. Many Ukrainian composers are beginning to write music for the accordion, which can be attributed to the jazz-pop direction. So among many works, “Retro fantasy” (“Retro suite”) stands out for the accordion solo of Ukrainian composer V. Podgorny. Also, many works for bayan and accordion jazz performances are written by Ukrainian composers V. Vlasov, A. Gaidenko, V. Zubitsky and A. Biloshitsky. Another possible way of developing artistic art is that there is a transformation of the repertoire of folk instrumental groups to which it belongs. Many orchestras, ensembles, groups try to demonstrate their own versatility, and instruments that should not be associated with folk music alone. The collectives modify their repertoire based on pop music. At the same time, there is another direction in which the pop music groups turn to bayan (or accordion) in some author’s songs. These aspects of the development of contemporary artistic art can be regarded as a promising direction, as the technical and expressive possibilities of the bayan are extremely broad.
Authors and Affiliations
Dmitry KUCHENOV, Vadim LIVAK
Keywords
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