The relevance of the topic and problem statement. In the process of formation and development of the original style of button accordion music one of the most important roles is played by the factor of texture, which fully embodies the instrumental specificity of the button accordion, and reflects the originality of forms and varieties of musical fabric in button accordion works. The study of the peculiarities of texture organization, as well as highlighting the main trends in texture formation in modern button accordion music, in particular in the works of Ukrainian composers, is seen as an urgent task to understand the essence of the phenomenon of modern button accordion, and in general — to develop domestic musicology in instrumental art. In previous works of the author of this article, an attempt was made to systematize the textured formations of modern button accordion music, which are determined by the specifics of the design of button accordion keyboards (Stashevskyі, 2021). Continuing further study of the textured organization of modern music for button accordion, there is a need to identify and systematize other typical for this work samples of texture and its components, the structure of which is not due to the structural configuration of sound keys on button accordion keyboards. That is, those that are more universal, but, at the same time, are characterized as typical of modern button accordion art.
The purpose of the study is to study the most typical textural elements and combinations of modern button accordion music, as well as their systematization based on the analysis of their internal structural organization.
The methodology used in this article is based on the use of methods of theoretical musicology (primarily, analysis of elements of musical language and means of expression), as well as methods of structural and system analysis, generalization and classification.
The results. The systematization of typical original texture formulas of modern button accordion creativity carried out in this work provides their division into certain groups and kinds (subgroups) in the middle of these groups, in particular: reverberation (chordal and mixed); stereophony (pulsation, transmission, unison); pedalling arpeggio (rhythmic, nonrhythmic); pedal scale (cluster crescendo); monophonic structuralmodular constructions (chromatic by broken intervals; gammashapedarpeggio based on a 5element fingering group); chord transpositions (intervalalgorithmic (chromatics; m3; m2B2; etc.), thematicmelodic); simplified accompaniment (alternation of tessiturapolar sounds); multioctave duplications (unison, decomposedarpeggio).
The topicality of the work lies in the fact that for the first time in modern musicology the textured elements of modern button accordion music have received analytical discourse and systematization.
The practical significance of the work lies in the possibility of its use in theoretical courses on the study of button accordion art, as well as in the practical work of button accordionists.
Conclusions. To sum up, we can state that the considered original textural elements and formulas are typical for modern button accordion music, as they occur in works in many cases. The typical button accordion texture formulas considered in this article, which are often found in the artistic plane of musical works, play an important role in the formation of a kind of stylistic handwriting of modern button accordion speech. At the same time, they, in contrast to the group of determinant texture formulas, reflect a certain universalism of their presentation, as they can be transferred to other instrumental texture (keyboard instruments) conditions and implemented in them.
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