STAGE STYLIZATION OF TRIPLET MUSIC IN THE PRACTICE OF THE GREAT ACADEMIC SLOBOZHANSKY SONG AND DANCE ENSEMBLE: ARTISTIC AND METHODOLOGICAL DIMENSIONS

Abstract

The article presents a comprehensive art historical study of the stage stylization of the tradition of triple music in the practice of the Great Academic Slobozhansky Ensemble of Song and Dance in the context of modern processes of development of Ukrainian folk and instrumental art. The relevance of the topic is due to the growing role of professional folk groups in the preservation, transmission and artistic rethinking of the folklore heritage, as well as the need for scientific understanding of the mechanisms for adapting traditional forms of music making to the conditions of the academic stage. The study is aimed at identifying the artistic and methodological features of the transformation of the traditional model of triple music in the stage space, where folk instrumentalism functions as a component of a synthetic musical and choreographic form. Based on the material of the ensemble's performance practice, the instrumental composition, textural organization, principles of instrumentation and ensemble interaction were analyzed, which allowed us to outline the characteristic features of stage stylization, in particular, the expansion of the timbre palette, the complication of the musical fabric and the strengthening of the dramatic role of instrumental accompaniment in interaction with dance and vocals. The study found that the stage stylization of triplet music in the activities of the Great Academic Slobozhansky Song and Dance Ensemble is not reduced to the external imitation of folklore features, but is based on the preservation of the intonation-stylistic core of tradition, characteristic rhythm and mode thinking. It was found that the artistic generalization of folk material occurs on the basis of regionally marked intonation models of Slobozhanshchyna, which in the conditions of stage performance acquire a generalized symbolic sound. The generalization of the results of the study allows us to consider the stage stylization of triplet music in the practice of the Great Academic Slobozhansky Song and Dance Ensemble as an independent form of professional folk instrumental performance, which performs an important cultural, educational and representative function in the modern artistic space of Ukraine. The conclusions obtained can be used in scientific research, performance and educational and methodological activities