The creativity of local accordionists in the context of pop-jazz performance at the turn of the XX - XXI centuries

The purpose of the article. To highlight the peculiarities of the functioning of pop-jazz music in the bayan-accordion art of Ukraine in a certain period. The methodology is based on the basic principles of the theory of knowledge, such as objectivity, scientific character, historicism, integrity, interconnection, and interdependence of phenomena and processes of reality, as well as conceptual provisions of the theory of professional skills. The scientific novelty lies in the coverage of the creative activity of local button accordion players and the systematization of the stages of development and creative achievements of the academic school of the specified period. Conclusions. Pop-jazz music in the context of performing creativity of local and foreign bayan accordionists has a consistent character and develops on the musical basis of Negro folklore, urban culture (genres of everyday dance music - waltzes, polkas, tango, foxtrots, etc.), professional music - improvisations, concert transcriptions, retro suites for jazz themes, jazz-style suites, jazz-rock-partitas). The main factors that influenced the dynamics of the development of pop-jazz music in the bayan-accordion art of Ukraine and abroad were various artistic processes that took place during the period under study, determined by the evolution of quality indicators. Keywords: button accordion (accordion), accompanying instrument, solo performance, jazz compositions, composer technique, academization. .

Features of Irish Dance Music

"The focus of this paper is to bring into light the traditional categories of Irish dance music, emphasizing the musical characteristics that differentiate them. Energetic and effervescent, Irish dance music is rarely analyzed, with Irish folklore lacking a school of dedicated musicologists. The topic of this article is important in the context of the tensions related to globalization, commodification, and transformations in Irish Traditional Music, that scholars are examining. The paper includes musical examples of the traditional Irish dance music categories, for a better view of the phenomenon. Keywords: Irish music, dance music, ethnomusicology. "

Bartók and the Violin Music of Maramureș

The Second Rhapsody, one of Bartók’s technically most demanding concert pieces for violin, arranges archaic-improvisatory bagpipe imitations for concert performance. The arrangement itself shows a well-designed, coherent structure: the succession of dances, tonally and motivically related between each other, outline a kind of evolutionary progression from free motive-structure to strophic form. Bagpipe-music had a long-term influence on Bartók’s violin music, figuring as episodes in original works like the two Violin Sonatas or the Violin Concerto; but none exploits the genre to such an extent as the Second Rhapsody. The violin pieces with motive-structure of fascinatingly wild and virtuoso character were among Bartók’s major discoveries of the collecting trips to the Maramureş region. For the Rhapsody Bartók chose melodies from the one-time Ugocsa county, whose music, closely related to that of Maramureş county, was considered by him “the most interesting in our country [i.e., Hungary of the time], due exactly to its primitive character.” In Maramureş these melodies are less eccentric; instead, the violinists have a broader and more varied repertoire of dance music. In my article I discuss the different types of violin music of this region, focusing on structural, melodic, or interpretational elements that were of special interest for the composer. For this investigation I have made use of the primary sources of the respective collections: phonogram recordings, field notations, later transcriptions.

Performance and Modernity

How do ideas take shape? How do concepts emerge into form? This book argues that they take shape quite literally in the human body, often appearing on stage in new styles of performance. Focusing on the historical period of modernity, Performance and Modernity: Enacting Change on the Globalizing Stage demonstrates how the unforeseen impact of economic, industrial, political, social, and psychological change was registered in bodily metaphors that took shape on stage. In new styles of performance-acting, dance, music, pageantry, avant-garde provocations, film, video and networked media-this book finds fresh evidence for how modernity has been understood and lived, both by stage actors, who, in modelling new habits, gave emerging experiences an epistemological shape, and by their audiences, who, in borrowing the strategies performers enacted, learned to adapt to a modernizing world.