Some specific features of the bayanistic / accordionist interpretive art from the Moldovan SSR during the years 1970—1980

Abstract

Th e present article comes to elucidate some particularities of the instrumental practice in the MSSR in the years 1970—1980, ensuring a continuity of the study “Constitution of the academic art of accordion in the Moldovan SSR during the years 1940—1960”. The seventh and eighth decades of the XX represent the consolidation stage of the interpretative art in our country, continuing to be determined by the evolution of the bayan / accordion schools in Eastern Europe (especially Russia, Ukraine, Belarus). Th e perpetuation of socialist values delimits two parallel evolutionary paths of the bayanistic / accordionistic instrumental practice in the republic. The intensive improvement of technical and expressive capabilities gives the multitimbral bayan with converter an absolute superiority from an organological, repertory, instructive-didactic, interpretive point of view, allowing it to occupy a visible position on the academic stage. Despite its marginalization, the multitimbral accordion with S.B. manages to assimilate to a certain extent the components of the chromatic harmonica with buttons (the repertoire, the instructional-didactic process, etc.) which were in an intense course of development. If the bayan largely “absorbs” the traditions of academic instrumental practice, then the accordion, being considered an instrument primarily predestined for popular music, conditions the evolutionary course of traditional interpretative art.