ЕВОЛЮЦІЯ ВИКОНАВСТВА НА РІЗНИХ ВИДАХ ГАРМОНІК В АМЕРИКАНСЬКІЙ МУЗИЧНІЙ КУЛЬТУРІ ДРУГОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ
| Main Author: | Шемет Л. В |
|---|---|
| Format: | Article Journal |
| Bahasa: | ukr |
| Terbitan: |
, 2018
|
| Subjects: | |
| Online Access: |
https://zenodo.org/record/1443132 |
Daftar Isi:
- In the musical culture of the United States, the performance on harmonicas is presented in a rather diverse way in terms of instruments, areas of distribution, spheres of function-ing, traditions of playing music, but the study of the American harmonica art evolution in the historical retrospect still remains out of the attention of the Ukrainian musicologists. Objectives.The purpose of the research is to theoretically sub-stantiate the peculiarities of development of playing harmonicas in various spheres of the American musical culture in the second half of the 20th century. Methods.The methodological basis of the study is the interaction of scientifi c approaches, among which the historical, cultural, systemic, structural and functional, and musicology methods are important. Summary.In the US instrumental tradition of the second half of the 20th century, the following varieties of harmonicas, such as harp, cajun accordion, piano accordion, button accordion, ban-doneon have become especially popular. Diatonic and chromatic arrangements of acoustic mouth or hand-held harmonicas func-tioned simultaneously in various spheres of the American musical culture. The electric instruments, having undergone certain stages of perfection, also occupy a prominent place in the musical space of the American culture of the period under study. The synthesis of the African-American, European, Latin American, Asian musical traditions, polystylistic and poly-genre tenden-cies in the American music, the development of the “industry” of commercial music, the improvement of the system of special musical education, the activities of the American Accordionists Association and the Union of Accordion Teachers, the tours of the world-renowned performers, radio and television shows, musical contests and festivals, creation of accordion museums became the sociocultural factors for the evolution of the performance on harmonicas. The signifi cant contribution to the development of the harmonica art in the second half of the 20th century was made by Little Walter, George “Harmonica” Smith, William Clark, Charke Musselwhite, Charlie McCoy, Hendrik Meurkens and others. Individual per-formance styles for most of them are a mixture of different styles and genres, including blues, jazz, bebop, rock, reggae, funk, soul music, country music, Latin American music, etc. The revolution-ary discovery in playing diatonic harmonica was performed by the American multi-instrumentalist Howard Levy, who mastered the technique of projecting all the chromatic notes on the diatonic harmonica and wrote a concert for harmonica with the orchestra. Among the diatonic hand-held harmonicas, the Cajun accordion, which was used by many groups and the California Cajun Orches-tra, held strong positions in the folk and popular music. The new stage in the evolution of zydeco was the use of the piano accordion by Clifton Chenier and the use of the blues system, syncopation, fast pace, specifi c play techniques. Gradually, the accordion be-came part of the country music groups, and modern forms of the country music are intensively assimilating the elements of rock, rhythm and blues, Mexican and Latin American motifs, as well as Tex-Mex music (conjunto). In American smooth jazz music of the second half of the 20th cen-tury, the key place belongs to piano accordion. Among the bright representatives of this trend are brilliant improvisers and innovators of the jazz accordion art – Art Van Damme, Frank Marocco, who were engaged in active concert activities, composer’s work, per-formed with outstanding jazz instrumentalists and vocalists, made a large number of solo and ensemble phonograph and CD records. In the fi eld of professional academic art, the piano and button ac-cordions with the stradella and free-bass systems played a dominant role among the hand-held harmonicas. Performance of Carmen Carrozza, Donald Hulme, Henry Doktorski, Stas Venglevski, Peter Soave with the leading symphony orchestras and conductors in prestigious halls around the world, winning of the American accor-dionists at the national and international contests, expansion of the genre and stylistic spectrum of the music they perform, creation of accordion orchestras made solid foundation for the development of the academic traditions of the American accordion school. With the growing production of electronic accordions in the US, the number of their supporters among American musicians in solo and ensemble performance has increased (Alex Chudolii, Nick Ballarini, and others). The creativity of the American composers in the second half of the 20th century contributed to the further development of the original accordion music, whose treasury was enriched with the large-form works written by Paul Creston, Alan Hovhaness, Carmine Coppola, Anthony Galla-Rini and others. The new direction in the American accordion art is associated with the experimental works of the fi rst avant-garde accordionist Paulin Oliveros and her follower Guy Klucevsek, particularly in the fi eld of the new music and free improvisation. The bandoneon got wide proliferation in the American musical culture in the second half of the 20th century. The Argentinean musicians Astor Piazzolla, Oswald Barrios and others played the leading role in the bandoneon popularization. Most American bandoneonists performed with small ensembles. The exception was Peter Soave, whose brilliant solo, accompanied by well-known American and European chamber and symphony orchestras, promoted the strengthening of the bandoneon status as a concert academic instrument. Results.The genre and style peculiarities of the American music has determined the multi-vectored development of performance on Харків 2018 3 розділ harps, accordions, bandoneons and contributed to the formation of the equivalent performing stylistics in the fi eld of solo, ensemble and orchestral performance, which during many years of creative activity of each musician and artistic ensemble undergone certain changes under the infl uence of the new trends, social and cultural conditions, performing stereotypes. Conclusions.The results of the study are important for teaching the course “The History and Theory of the Folk Instrumental Performance”.