Discourse “academic — experimental”: theory and practice

Abstract

Thanks to the work of Ukrainian composers of the post-war period (Mykola Dremliuha, Kostiantyn Miaskov, Anatolii Kolomiiets, Serhii Bashtan, Vasyl Herasymenko, etc.), the process of academization of the instrumental bandura was actively established, marked by a significant expansion of genre-style and expressive-performing paraphernalia. In this direction, an important role belongs to Kostiantyn Miaskov, an outstanding personality in composing for bandura. A vital component that forms the style of his legacy for instrumental bandura is the reliance on folk dance and folk song themes and their reinterpretation in line with academic performance. Among the author’s stylistic techniques that are most often traced in instrumental works for bandura are sequencing, variation, improvisational development of musical and thematic material, tempo and dynamic contrast, bright dynamization of the development of musical fabric, on the one hand, and organic use of timbre — phonic and technical-expressive capabilities of the instrument, on the other. The kinship of the composer’s style with the foundations of folk music thinking was manifested in the melodicism of his instrumental canvases for the bandura. Reliance on folklore became, for the artist, a factor that, to a certain extent, determined the individual style of writing of this master, where the principle of music making, typical of folk Instrumental Performance, became decisive for his compositions in the field of bandura creativity