INTERPRETATION OF THE FOLK-SONG TRADITION IN THE WORKS OF THE KYIV ACADEMIC ENSEMBLE OF UKRAINIAN MUSIC “DNIPRO” AND OLENA KULYK

Abstract

The purpose of the article is to outline the leading direction of the creative activity of the Kyiv Academic of Ukraine Music “Dnipro” and Olena Kulyk as the carriers of the folk song tradition. The methodology of the study is based on comparative guidelines, which lead to the use of principles of genre and style analysis, as well as the cultural approach.The scientific novelty of the article is due to the identification of the leading directions of transformation of the folk song tradition and performance in the context of the activity of the Kyiv Academic of Ukraine Music “Dnipro” and O. Kulyk.Сonclusions. The article substantiates the focus of the activity of the the Kyiv Academic of Ukraine Music “Dnipro” and its head, People`s Artist of Ukraine Olena Kulyk, on preserving the national spiritual heritage and innovative representation of the folk song art and performance in the cultural space of the turn of the XX–XXI centuries in innovativesynthetic forms, as well as establishment of the latest mechanisms for the existence of the national cultural heritagein educational and popularization performance (Kyiv Ethno-Music Festival “Folk Virtuosos”). It is emphasized that the projects of the collective «Dnipro Saga» and “Those Who Come from the Sun”, which are based on the mentaldetermined antheism and images of the Dnipro, Cossack, Mother, and the concept of national cultural memory,demonstrate a multidirectional synthesis of arts and genre model (including the academic tradition), and the universalism of the sound world. It is shown that the specificity of the ensemble`s performance guidelines, in particular O. Kulyk, isexpressed in the individualization of options for combing the folk-song performance paradigm with its academic versionand features of the pop version. Markers of the attributive belonging of O. Kulyk`s work to the folk-song performance tradition in the projects of “Dnipro” are open sound production, sound interruption with intonational neutrality byintonation and reduction of lexemes, accentuated performance expression, high dynamic tone, interjection withascending glissandi with intonationally neutral endings, and elements of onomatopoeia. Given the general significanceof the guidelines of the academic version of the folk-song performance paradigm, the singer turns to the techniques of vocal instrumentalization correlated to the realm of pop, which demonstrates a creative understanding of folklore as a timeless artistic phenomenon.