Jazz in the Works of Composers of Crimeа

Abstract

Purpose of Article is to analyze the creative achievements of Crimean composers who turned to the musical direction «jazz» and contributed to the formation and development of ethnojazz in the music of the Crimean composers. Methodology. The analytical method was used in the article, which allowed to choose the works of jazz in the creative works of several artists. Owing to the method of comparative analysis, it was possible to compare the features of the work of different composers in this direction, the generalization of the studied problem allowed to formulate the conclusions of the analysis. Scientific novelty. For the first time, a particular aspect of the work of Crimean composers
― jazz works ― is analyzed in scientific research. The characteristic feature of jazz works of most Crimean artists is emphasized ― their creation on the verge of tradition and innovation with using rich and original national folklore (ethnojazz). Conclusions. The interest in the Crimean Tatar folklore that has appeared in Crimean composers, including composers of Crimean Tatar origin, has not only disappeared in recent decades but has gained momentum, especially in the work of young composers. It can be said that today there is a whole galaxy of young and incredibly talented composers (E. Izmailov, D. Karikov, E. Saryhalal, U. Bekirov, M. Shorenkov) who, in their works, turn to jazz treatments of the musical folklore of the Crimean Tatars, from one on the other, reviving these folk traditions but in a different form, and on the other, enriching them with modern academic music. In this case, it is logical to conclude that the jazz trend in the works of Crimean composers was and remains very popular and is experiencing a period of its heyday.