On the question of technical features modern bayan-accordion
DOI:
https://doi.org/10.32461/2226-3209.4.2018.153085Keywords:
bayan, accordion, repertoire, composers, technical skillAbstract
The purpose of the article – related to the coverage of historical preconditions the emergence and evolution of the bayan-accordion structure and its technical capabilities, repertoire and composer currents. The research methodology is the application of arts studies, culturological and biographical approaches and a few methods: historical and typological – which is associated with problems the historical formation of the phenomenon through the prism of the instrument’s evolution in its modern modifications; functional – which makes it possible to outline the amplitude of artistic and expressive, technical and timbre-acoustic qualities in conjunction with the accumulated arsenal specifically-performing means which enable involvement today to the repertoire of bayanist countless pieces of music different directions and styles, with consideration even fundamentally opposite artistic tastes. The scientific novelty is determined by the analysis of the technical condition of the bayan-accordion in the light of modern instruments and repertoire. Conclusions. The outline genre varieties of the repertoire (processing of folk songs, transposition of the world musical heritage, work of the baroque era, variety music) modern bayan-accordion, obviously, can be freely replenished with works other stylistic trends of the twentieth century (neoclassicizm, neoromantizm, neofolkloryzm, etc.). Therefore, intensively progressing repertory policy of the individual – is a modern, original academic music. The rapid evolution – from the amateur harmonica of the XIX century to the ready-elective multi-timbre concert instrument second half of the XX century, reflected in the repertoire of the artist, directly affecting the quality of concert programs. Today, when the tool parameters allow to operate freely any available in musical arts style, we are inclined to the definition of academician Mykola Davydov: «modern bayan has a significant potential of timbre and acoustic capabilities, which have not yet been fully revealed in the composer’s neither in the performing, nor in engineering designer inventive practice» [2, 14].
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