BANDURA IN THE CHAMBER-ENSEMBLE GENRE: THE PERFORMANCE ASPECT

Abstract

The article examines the performative aspects of the bandura’s role within chamber-ensemble genres, focusing on its contribution to the genre-stylistic and compositional characteristics of contemporary Ukrainian chamber music. Special attention is given to the analysis of works by Ukrainian composers of the 20th–21st centuries, including O. Herasymenko, M. Denysenko, V. Martyniuk, and I. Taranenko. Various approaches to the integration of the bandura into chamber ensembles are considered, including polystylistic techniques, improvisation, microtonality, and extended performance techniques. The study analyzes the structural function of the bandura part, its compositional roles (melodic, harmonic, rhythmic, contrapuntal, and improvisational), timbral logic, genre models, and types of ensemble texture. Ensemble dramaturgy is examined as a means of shaping musical space and artistic-semantic interaction between the bandura and other instrumental components of the ensemble, including string, wind, and percussion instruments. The article outlines a system of performance and compositional interrelations in which the bandura appears not only as a bearer of national instrumental tradition, but also as a полноценний participant in the contemporary chamber-ensemble process, realizing its potential across various genre models and types of ensemble texture–from chamber duos and trios to poly-instrumental and electroacoustic formations. The bandura is interpreted as an instrument with a multidimensional functional nature, combining timbral self-sufficiency, ensemble flexibility, and a high potential for stylistic transformation. The material reveals perspectives for the further development of chamber-ensemble music involving the bandura within the context of contemporary artistic processes, emphasizing the growing role of the performer as an active subject of interpretative modeling of the musical text and semantic organization of ensemble sound. The bandura is conceptualized as a dynamic instrument of modern academic culture, capable of flexible integration into new genre-stylistic systems, the formation of innovative ensemble formats, and the creation of new models of artistic-imaginal interaction within the chamber music space.