THE SOUND IMAGE OF THE ACCORDION IN THE CONTEMPORARY ARTISTIC SPACE

Abstract

The purpose of the article is to identify the peculiarities of the accordion sound image in the work by V. Zubytsky “Rossiniana” and P. Roffi “Histeria”. The methodology of the article is based on comparative principles that make it possible to use musicologial research tools related to the method of genre and style analysis, as well as historical and cultural methods. The scientific novelty is due to the clarification and expansion of the idea of the peculiarities of the accordion sound image in V. Zubytsky “Rossiniana” and the introduction into musicology of the idea of the specifics of the instrumental sound image in P. Roffi “Histeria”. Conclusions. The article reveals the such accordion sound image features as: diffuseness, multiculturalism due to the project if the artistic experience of classicism into the pop-jazz sphere and the sphere of polystylistics, resonance with the traditions of classicist and romantic virtuoso performance, connections with opera and the genre of concerto, sonata. And memory genres as signs of the concentration of cultural memory. It is emphasized the “rhizome” and “open” character of the work due to the multiplicity of its versions, the importance of nontraditional technical and percussion-sonor techniques, intensions of visualization and theatricalization of performance, which form an “intertextual” postmodern sound image of the accordion as a synthesis of markers of different historical and cultural spheres. In P. Roffi’s work “Histeria”, the factors of the multicultural sound image of the accordion are conceptual and figurative connections with the Baroque, with the concept of perpetuum mobile, and a complex of sonorous and percussive effects. The dichotomous chronotope of the work, in which movement and static appear in the specific unity, determines the significance of the technically virtuosic “hypostasis” of the in instrument – as a reflection of the connections with the virtuoso performance of classicism and romanticism, and the melodic, cantilena, which resonates with the sacred sphere, which together demonstrated the cross-cultural potential of the accordion sound image in the space of contemporary culture.