The original works of Ukrainian artists of the period of independence at the intersection of academic and folk instrumentalism
The starting phase of interaction between academic and folk-instrumental traditions of folk was reproduction characteristics in environment academic art. Mirroring the trend is mastering traditional academic instrumental genres in folk-instrumental achievements. Two important lines of academic folk-instrumental creativity was mastering romantic and baroque concert genre. Domination the first of the mentioned trends caused national character timbre the image of and the need to demonstrate clearly-technical potential of advanced instruments. Interest in Baroque genre system determines the a natural reference to of genres partyty, old suite, polyphonic of even cycles old vocal and choral forms. Maturity folk instruments free operation demonstrates the newest artists and composers technicians attraction of big list specific sound facilities, and the isolation corps of experimental plan works. Manifestation mutual influences two spheres is instrumental chamber ensemble compositions with a mix academic and folk improved instruments. The comparison timbres that goes beyond stereotypes of concluded centuries plane of creates interesting for experimenting with timbre search with the assistance non-traditional methods sound creation. An important vector in fracture the two spheres instrumentalism is creativity of academic groups with solo or improved authentic folk instruments, chamber and symphony orchestras with soloists or ensembles and instrumental soloists folk group. In some cases analogue Academic Orchestra presents piano or string quartet. A separate group of concert works plan create songs with a group of soloists, due not only to follow the concertino baroque aesthetics, how many additional potential of performance, but also timbre-acoustic balance. These works are a key installing for concert activities – and therefore the demonstration clearlytechnical potential soloists, and preserving of the principle of game competition, combined with polistylistyk, means neofolkloryzm, neobaroque, jazz-pop and their receptions synthesis. Timbre opposing collective Academic Ensemble of folk instruments in a role soloist built on the principle of semantic paradox, overcoming inertia auditory experiences that model a dramatic timbre of the author on the onehand and psychology and perception hearers audiences – on the other. Expansion mutual influences and academic folk instrumental beginnings associated with the paradoxical timbre semantics. You meet changing roles of instrumental colors inherent traditions of of different nations and ethnic groups, involving atypical instrument to certain genre and style spheres. Thus the already mastered listening and composer timbre paradox folk tradition subjects in the area of academic instrumentalism image change complemented sounds of folk instruments, not peculiar to a particular ethnic group. This determines a theater and cleaning one tool with its tembr-clearly potential a conditional insult mask another. Another model semantically-sound paradox representing compositions Variety-Academic orchestral of syllables from solo folk instruments and examples of the introduction of the of separate the score of symphonic orchestra of folk instruments. The same line has its continued in the works, which are synthesized and neofolk jazz or neostyl beginning. Folk sphere acquires fundamentally new properties – towards the exit outside the specific own narrow special performing tradition. There stands to side search depth disclosure rites, the original spontaneity, the deep energy not only regionallyspecific forms, but also numerous of the submitted samples of folklore of other nations (Spanish, Catalan, Gypsy, Bulgarian, Moldovan, Romanian, Serbian, Crimean Tatar, Hasidic, klezmer, etc.) instrumental in carrying scope means collective singing, epic and of conversational genres. Consequently we made a review and attempt to classify the original phenomena and trends in the composition activity of Ukrainian artists of the period of independence at the intersection of academic and folk-instrumental performance traditions. Basis for this were the methods of application ethno fonichnyh sound imitations of separate instruments and performing formulations, playback specific features components rites samples expand the scope ethno-regional and nonnational folk-music material using the latest clearly-technical arsenal. Are considered processes demonstrate rapid development of creative intentions, composer of mastery and potential mutually enrichment and mutually complement creative and performing instrumental traditions in professional musical art of modern Ukraine modern period