New folkloristic tendency in the context of the Donbas musical culture of the second half of the XX – beginning of the XXI centuries
The term “new folkloristics” has firmly been established in Russian and Ukrainian musicology in the last decade (L. Khristiansen, G. Grigorieva, L. Nikitina, G. Konkova, E. Derevianchenko, etc.). And it means “a qualitatively new attitude to folklore – an interest in archaic, in complex unusual mode forms, and their application” [4; p. 65]. E. Derevianchenko, on the basis of summary style features, distinguishes the following typological features of the new folkloristics: ˛. The selection of material for creativity is conditioned by dialogue with such folklore layers, which for various cultural and historical reasons were not accepted as elements of professional creativity (archaic – lyric – folklore, music of urban life, mass festivities, sounds on the verge and beyond music, folklore dialects). ˛˛. Features of the thematic structure and ways of thematic development: 1. Kinds of thematic inventions: a) melodic thematic invention; b) figurative thematic invention. 2. Ways of thematic development: a) the principle of “openness of the theme” (G. Golovinsky) and techniques, that are its illustration; b) the development based on repetition and variance. III. Characteristics of the parameters of musical texture and related techniques of expressiveness: 1. Activation of creative searches in the field of metrorhythm: a) metric instability; b) accent variation. 2. The mode-harmonic horizontal and vertical complications: a) the use of modes that do not fit within the major-minor system: the Old-Magyar pentatonic scale, the Romanian Lydian-Myxolidic system (with two tritones), the order of Indonesian music (pt – p.4 – pt), etc. b) the transfer of the effect of high-altitude change of degrees, is interpreted as a reflection of folk harmony or the result of variance and improvisation when intoning or playing, by B. Bartok – with the reproduction of mixed modes features; c) the technique of “open stagedness”; d) the development of poly-mode, poly-tone messages; e) horizontal and vertical integration according to the principle of intonational generality; f) the use of “chord parallelisms” and parallelisms of discordant intervals; g) the technique of the harmonious pedals formation like the folk way of harmonizing melodies pentatonic composition, defined by B .Bartok. 3. Dynamization of the texture-timbre factor: a) multilayers, “multireflection” of the musical texture structure; b) peculiarities comprehension of the national bachground style, coordination of parties in folklore and ensemble performance; c) reproduction of texture variants that have as a prototype a certain situation of folklore music making; d) search for new timbres and their combinations; e) the revival of the original “grand-music” timbre forms (the cult of “percussion” and “ringing”) [4; p. 15–17]. New folkloristics emerges as an integral part of the Ukrainian cultural process of the ŐŐ-XXI centuries. A striking example of this trend in the works of the Donetsk composers is the piano pieces by Aleksandr Ivanovich Nekrasov, who is the representative of the older generation of modern Donetsk composers (born in 1946). A. Nekrasov is the author of music of various genres: for the symphonic orchestra and orchestra of folk instruments, choral and instrumental pieces (for pianoforte, harp, bayan, domra), vocal cycles, romances and songs for the words of the national poet of Azerbaijan, Nabi Khazri, the Ukrainian poets: V. Thea, P. Maha, M. Rybaki, M. Singhavskyi, I. Strutsiuk, P. Tychyna, I. Chernetskyi, music for children and youth. A. Nekrasov’s piano creativity demonstrates a propensity for various searches in the sphere of musical style: he pays tribute to constructivism, gradually mastering the folkloric flow, and eventually finds certain manifestations of the neoclassical beginning. The song and dance ritual folklore of the Ukrainian people, as well as artistic and aesthetic views, contributed to the appearance of his two piano suites “Gutsulskaya” (1978) and “Carpathian” (1985). It was during this period when new folkloristics “continues to develop not only as a leading artistic move, but also finds peculiar aspects of the embodiment in the creativity of domestic composers, who are trying to synthesize an authentic intonational basis with modern compositional techniques – aleatorics, sonorics, serialism” [1; p. 95]. In the genre-playing sphere are the plays by A. Rudyanskyi “Go-go-go koza” and “A nash zhuchok po derevu khodit”. It is important to note that both miniatures are written on the basis of Ukrainian folk songs, hence the square structure of the compositions, the constant variation of the selected melodies. The brightly expressed national nature of the music of these plays is designed to deepen the children’s ideas about the stylistic features of Ukrainian folk songs. To the type of lyrical plays belongs the miniature by A. Rudyanskyi “Mesiats na nebe”. It is interesting, because of its relatively harmonious freedom and colorfulness.