ЖАНРОВО-СТИЛЬОВИЙ СПЕКТР БАЯННО-АНСАМБЛЕВОЇ ЛІТЕРАТУРИ В УКРАЇНІ
Genre-style spectrum of bayan-ensemble literature in Ukraine

Summary/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 "meta-neofolklorism".Throughout the process of professionalization and academicism of bayan-ensemble repertoire, the special at-tention deserves its component such as translation. This particular stratum of repertoire (translated literature) has be-come the impetus for the formation of such stylistic trends in the bayan art as the neoclassicism and neobaroque. The spreading of neoromantic and neoimpressionism trends can be explained in the way that the artistic, aes-thetic, lyric (lyric-dramatic) direction is appropriate to the bayan art in the connection to folk origin, which has been re-flected as in early stage of music (amateur and semi-professional) as in the further development of such directions as the folklorism and neofolkorism.Concerning the evolutionary processes of stylistic directions of pop-jazz music in the accordion-bayan art and national culture provides the following chronology. The first stage (1920-1940's) is defined as the stage of becoming of the professional pop-jazz music in the accordion-bayan art. At the second stage (1950-1980's ) is started the involving of bayan (accordion) into the professional concert practice, resulting in the formation of the stage of the philharmonic spe-cialization in this folk instrumental performance industry. The third stage (since 1970 till to the presence) is characterized by a transition from improvement of philharmonic specialization to the stage of academicism.In recent decades, avant-garde and modern has opened up the new technical and expressive possibilities of bayan, helped the research in the field of design and technological innovation and in the direction of the improvements of sound production methods. The particular attention of composers and performers are attracted by prospects of sound-painting boundaries through updating the harmonic language and rethinking of the timbre significance.Therefore, it could be emphasized that genre-style spectrum of bayan art during its development and for nowadays demonstrates almost all of the art and aesthetic styles, trends and directions, which characterize general evolution of national musical art, in its chronological order and synchronic coexistence based on the relevant specifics of the instrument.

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