FOLKLORE HERITAGE IN THE NATIONAL BUTTON ACCORDION MUSIC OF THE 1930S-1980S
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УДК 786
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Information about authors: Bychkov Vladimir Vasilyevich, Dr of Art History, Professor, Professor of Department of Variety and Orchestral Creativity, Chelyabinsk State Institute of Culture (Chelyabinsk, Russian Federation). E-mail: kafdjazz@ chgaki.ru Tarasova Yuliya Borisovna, PhD of Culturology, Associate Professor, Department Chair of Ethno-cultural Education, Chelyabinsk State Institute of Culture (Chelyabinsk, Russian Federation). E-mail: jt70@mail.ru
Annotation: The conservation of cultural heritage for any nation is always a topical task. In its solution, an important role is played by the reproduction of folklore traditions, which are a binding link between the culture of the past and the present. The aim of this work was to determine the representation of folklore in national professional button accordion (bayan) art of the 1930s–1980s. In the article, the authors analyze the options for the treatment of the folklore heritage in the national button accordion music of the 20th century. On the basis of the method of comparison, there are two stages of development of the bayan art. The first stage (the 1930s-1950s) characterized by a direct connection between folklore source, and modern author’s work. The role of folklore was manifested in the fact that the majority of musical works of different forms were built on direct quoting the folklore material and folk music variation. The second stage (1960s-1980s). Composers writing for button accordion, in addition to using the quotations from Russian folk art, addressing the heritage of other peoples. The large musical forms are developed that have a connection with folk culture (for example, Rhapsody). At the same time, this stage is characterized by a gradual departure from folklore sources, a roll towards academic music. The authors come to the conclusion that the analysis of the works for the button accordion, as well as any other musical instrument in terms of representation of folklore in them, in the long term can be carried out taking into account three indicators. The thematism of folk tunes (songs, dances) and the means of its refraction in the bayan literature, technical and performing means peculiar to folk music and their modification in the genres of the concert, suite, sonata, coloristic sphere of folk instruments and its reproduction by means of musical instruments.
Keywords: bayan, folklore, folklore heritage, tradition, concert, sonata, rhapsody, academization, folklorism
DOI:
Article ID in the RSCI:
Article file: Download
Information about authors: Bychkov Vladimir Vasilyevich, Dr of Art History, Professor, Professor of Department of Variety and Orchestral Creativity, Chelyabinsk State Institute of Culture (Chelyabinsk, Russian Federation). E-mail: kafdjazz@ chgaki.ru Tarasova Yuliya Borisovna, PhD of Culturology, Associate Professor, Department Chair of Ethno-cultural Education, Chelyabinsk State Institute of Culture (Chelyabinsk, Russian Federation). E-mail: jt70@mail.ru
Annotation: The conservation of cultural heritage for any nation is always a topical task. In its solution, an important role is played by the reproduction of folklore traditions, which are a binding link between the culture of the past and the present. The aim of this work was to determine the representation of folklore in national professional button accordion (bayan) art of the 1930s–1980s. In the article, the authors analyze the options for the treatment of the folklore heritage in the national button accordion music of the 20th century. On the basis of the method of comparison, there are two stages of development of the bayan art. The first stage (the 1930s-1950s) characterized by a direct connection between folklore source, and modern author’s work. The role of folklore was manifested in the fact that the majority of musical works of different forms were built on direct quoting the folklore material and folk music variation. The second stage (1960s-1980s). Composers writing for button accordion, in addition to using the quotations from Russian folk art, addressing the heritage of other peoples. The large musical forms are developed that have a connection with folk culture (for example, Rhapsody). At the same time, this stage is characterized by a gradual departure from folklore sources, a roll towards academic music. The authors come to the conclusion that the analysis of the works for the button accordion, as well as any other musical instrument in terms of representation of folklore in them, in the long term can be carried out taking into account three indicators. The thematism of folk tunes (songs, dances) and the means of its refraction in the bayan literature, technical and performing means peculiar to folk music and their modification in the genres of the concert, suite, sonata, coloristic sphere of folk instruments and its reproduction by means of musical instruments.
Keywords: bayan, folklore, folklore heritage, tradition, concert, sonata, rhapsody, academization, folklorism
