TRENDS OF ACCORDION MUSIC IN THE CREATIVE WORK OF UKRAINIAN COMPOSERS OF THE 21ST CENTURY

Abstract

The article reveals the trends of the original accordion repertoire of Ukrainian composers in the 21st century. The resonance of artistic content belongs to professional composers, practicing teachers without a compositional education, who actively fill the repertoire gap based on educational and pedagogical needs, students of higher education institutions and concert musicians who reveal their creative potential through the need for self-expression of performing thinking and projection onto their own vision of the instrument and the music for it. The purpose of the article is to disclose the sketches of the creative output for solo accordion of contemporary Ukrainian composers in the genre variety for primary art education, higher education institutions and concert activities of the first quarter of the 21st century. The research methodology embodies the systematization of genre accordion varieties of the 21st century and focuses on the following methods: analysis of the Ukrainian original repertoire for the accordion (solo) of the first quarter of the 21st century; synthesis of composers’ creativity from primary art education to institutions of pre-higher and higher education and concert performers; classification of genre varieties of accordion music; modeling of repertoire content by professional composers and practicing teachers and concert participants. The scientific novelty lies in the disclosure of repertoire developments for the accordion in the new millennium for different levels of training with support from primary art education institutions. Repertoire content is divided according to genre features and achievements in each of them. The priority criterion is the repertoire for primary art education, where the sources of its content are (in the vast majority) teachers-practitioners (A. Martsenyuk, I. Myskiv, V. Klymenko, V. Viryasova, V. Soroka, V. Salii, V. Shlyubyk, S. Sokolyk, O. Zhuzha, A. Sich, M. Rozhko, O. Goncharov, O. Bodnarchuk, etc.). At the same time, the layer of today’s accordion repertoire is written by students of higher education institutions and performers, who proceed from the synthesis of creating their own samples of original accordion music and its dissemination on various artistic platforms. Among such creators, it is worth mentioning the names of I. Yergiev, V. Gubanov, S. Grinchenko, V. Kurylenko, R. Stakhniv, V. Vitskov, V. Godlevskyi, V. Kashuta, A. Kos, D. Snigirov, M. Samsonov, I. Saienko, T. Ilyukhin, V. Vasylenko, P. Gilchenko, N. Parashchuk and others. Among the genre varieties, the writing of polyphony and polyphonic miniatures, the concert genre, sonata, sonatina, suite cycles, children’s album, the genre of folklore arrangement, concert play, variation cycles, pop and jazz content stand out. Works are tested in the educational process, on the concert stage, at competitions and festivals of various levels, win prizes in composer nominations, etc. Another feature is the first performance of the music by the authors themselves (B. Myronchuk, V. Gubanov, I. Yerhiyev, Y. Oleksiv, R. Stakhniv, V. Viryasova, V. Klymenko, R. Bagdasaryan, R. Puneyko, P. Gilchenko, N. Parashchuk, V. Vitskov, V. Godlevsky, D. Snigirov, M. Samsonov, I. Saienko, etc.), which serves as motivation for the rotation of their own work on the concert stage.