GENRE AND STYLISTIC SPECIFICITY OF CHAMBER-ENSEMBLE BANDURA PERFORMANCE

Abstract

The article examines the genre and stylistic specificity of chamber-ensemble bandura performance as one of the significant directions in the development of contemporary Ukrainian musical culture. Chamber use of the bandura is considered through the prism of the interaction between traditional and innovative tendencies, forming a distinctive artistic phenomenon within the national musical space. The focus is placed on the genre features of works written for duets, trios, quartets, and larger ensembles with bandura, as well as on the character of its combination with other instruments of contemporary, classical, and folk-instrumental traditions.The genre and stylistic palette analyzed encompasses both arrangements of folk songs that preserve the authenticity of the national musical tradition, and original chamber compositions and contemporary experimental works that integrate the bandura into the context of modern academic and cross-genre music. Particular attention is given to stylistic aspects of ensemble interaction: timbral correlations, dynamic balances, textural models, and interpretative approaches in chamber performance. Recent performance approaches are traced, revealing new expressive possibilities of the bandura – from non-traditional interpretations of timbre and dynamics to the integration of improvisational elements and the use of contemporary compositional techniques. In the chamber-ensemble context, the bandura emerges as an instrument that simultaneously represents national musical identity and actively engages in processes of global integration.Its genre and stylistic specificity lies in the synthesis of traditional and contemporary elements, which leads to the expansion of the genre spectrum of Ukrainian chamber music and the creation of new formats of ensemble performance. The study also considers the prospects for the development of chamber-ensemble bandura performance, particularly in the direction of combining folk intonations with modern compositional technologies, establishing cross-genre ensemble projects, as well as developing new pedagogical approaches to teaching ensemble performance on the bandura in higher art education institutions. Thus, the genre and stylistic specificity of chamber-ensemble bandura performance appears as a dynamic and multifaceted system that not only reflects national tradition but also actively interacts with contemporary musical processes, shaping new vectors of development for Ukrainian chamber music.