Features of neo-folklore in the accordion creation by Victor Vlasov (on examples of analysis of musical works)

Abstract

The study of the repertoire specifics of instrumental art today is the predominant area. On the one hand, this is due to the presentation of the Ukrainian repertoire in accordance with its relevance in the formation of the national school, and on the other hand, finding its links with world culture and highlighting specific features and national identity. The appeal to the personified approach in identifying neo-folklore as a leading direction in the work of Ukrainian composers is justified by such a search. The accordion works of Ukrainian composers of the XX^th century are the embodiment of a stylistic rethinking of folklore sources of musical culture. The choice for a detailed analysis of works by Viktor Vlasov allows to find the characteristic features of the introduction of professional academic music of folk traditions from direct, quoted use of folk elements in arrangements of folk songs and ending with their embodiment in modernist intonation-rhythmic environment of sound phonemes, activation of free-metric rhythmic organization and cluster separation of intonation-constructive units that create the composition of a musical work and allow to position folklore intentions from the standpoint of neo-folklore. Characteristic features of neo-folklore are considered on the example of two works of the composer: “At the Fair” (1964), which may belong to the early stage of creativity and “Vesnyanka” (1984), in which the author demonstrates other approaches to music and marks the mature period of the composer's work. Found that the level of rethinking of Ukrainian folklore in the work of Victor Vlasov allows us to talk about the elements of jazz through the prism of neo-folklore. It is noted that the appeal to the sources of folk music, folk intonations, rhythms, scale is due to the relationship between professional and folk music, the continuity of national traditions.