Bayan Performance in the Dimensions of National Culture: Value-Ethical, Communicative and Pedagogical Interpretation Senses

bayan

Abstract

The purpose of the article is to investigate Ukrainian bayan performance as a culturological phenomenon, to identify its ethical-aesthetic, communicative and pedagogical aspects. Research methodology. The methodological basis of the study is interdisciplinary approaches, in particular: culturological analysis (to identify the place of bayan performance in the system of national culture); ethical approach (to consider the responsibility of the performer to the author’s text and the audience). Scientific novelty. Bayan performance is meaningfully considered as a phenomenon that functions at the intersection of culturological, ethical, communicative, and pedagogical dimensions in the context of the Ukrainian musical tradition. A new interpretative model is proposed that takes into account the ethical responsibility of the performer as a bearer of a cultural code. Conclusions. The Ukrainian bayan performance school is a multi-level cultural phenomenon that combines musical and interpretative tradition, pedagogical continuity and the ethical position of the artist. In this context, bayan performance can no longer be reduced only to technique or even to the interpretation of the text – it appears as a form of artistic expression that has an existential and commemorative dimension. The bayan performer, especially in the Ukrainian tradition, appears not simply as a bearer of professional skill, but as an interpreter of cultural memory, responsible for the transmission of meanings, values and the ‘musical conscience’ of their time. Thus, the Ukrainian bayan performance tradition is not only the subject of musicological analysis, but also the object of culturological comprehension. Its preservation, development and comprehension require an interdisciplinary approach that combines musicology, cultural studies, ethics, hermeneutics, and pedagogy. It is in such a polyphonic context that the performer gains the opportunity to be not only a master of the instrument, but also an exponent of the national spirit. And the bayan school in Ukraine is understood not only as a set of pedagogical methods, but also as an aesthetic and ethical system in which music becomes the voice of memory, spiritual tension and emotional communication.