Genre-style spectrum of bayan-ensemble literature in Ukraine

Abstract

The article is dedicated to the research of one of the most important aspects of national bayan-ensemble acting – its repertoire supplying. Therefore, the object of the research is the relevant stratum of musical works, and the subject is represented by its genre-style spectrum, additionally, the objective of the research is the classification of its main genre and stylistic groups. The scientific novelty in this context is contributed by ordering and specification of existing data in terms of genre-style definitions and the chronology of development of the bayan-ensemble literature. The analysis of musicological and repertoire literature allowed the author of this article to specify periods of folk movement in concert-performing and composer practice. The first period is dated from the end of XIX century to the first decades of the XX century. The quest for storing of the original genre-style image has allowed scientists to determine this period in the specified repertoire field as purely "folkloristic" (or "folk"). The second period is dated by 1940-1960s and it is defined as the period of academicism ("folk-academic" period). The next (third) period (since 1970 till 1980s) is associated with the general neofolk trend in music, which is defined as a phase of "new folk wave ". The modern period has begun since the last decade of XX century to the present day and it is a period that can be called as a kind of "metaneofolklorism". Throughout the process of professionalization and academicism of bayan-ensemble repertoire, the special attention deserves its component such as translation. This particular stratum of repertoire (translated literature) has become the impetus for the formation of such stylistic trends in the bayan art as the neoclassicism and neobaroque.