Contemporary Trends of the Interpretation of the Ukrainian Folk-Song Performance Paradigm

• Main Author: Yu. I. Karchova
• Format: Article
• Language: English
• Published: Kharkiv State Academy of Culture 2018-05-01
• Series: Культура України
• Online Access: http://ku-khsac.in.ua/article/view/136521
• ISSN: 2410-5325; 2522-1140

The aim of this paper is to highlight the features of interpretation of the Ukrainian folk-song performance paradigm in the works of the contemporary performers of the Ukrainian song M. Yurasova, I. Chervinskaya, O. Nikitiuk. Research methodology of this paper is based on the principles of the musical and interpretive approach and stylistic analysis. Results. Contemporary artistic incarnations of folk-pop song performances demonstrate their ability to function in different style contexts. M. Yurasov (Mlada) in the album “Oy, Spring, Spring” unites the features of the folk-song performance paradigm (agogy, reduction of words and syllables, exclamations, additional consonants, chanting of vowels, intonational lability, improvisation of melodies, melismatic, ascending glissando at the end of words, sincere lyricism, emphatic emphases), her pop transformation (weak impedance, speaking position of the singer’s apparatus), jazz (typical vocal improvisations, polyrhythm) and its folk modification (electronic versions of folk wind instruments, folk intonations and rhythms accompanied). The features of the folk performance by I. Chervinsky in the program “Chastushki” of I. Zakus’s project “Jazz-Kolo” are “open” sound extraction, micro-glissando, melisma, a break of sound, exclamations, nontemperation, high expression, singing “on a smile”, typical stage image. The “folklorization” of jazz, the representation of folklore as unity in space and time, becomes dramatically significant in Kolomyia. The signs of the folk-song performance paradigm in the works of O. Nikitjuk (agogy, improvisation, expression of the dynamics, glissando, melizmatics, open sound production, “reference” of sound to the distance, chanting of vowels) are combined with its folk-academic option and electronic accompaniment. The free operation of stylistics of jazz, pop and folk-song performances, corresponding to the current trends of multiculturalism, is distinguished by I. Taranenko’s project “Music of the Ukrainian Land” (2016) with the participation of N. Matviyenko. Novelty. The study enabled a better understanding of the manifestations of the synthesis of folk-song performances with jazz and variety arts, which have not been considered by Ukrainian musicology yet. The practical significance of this paper is to create an analytical basis for the research on the special features of the relation of traditions and innovations in contemporary artistic practice and in forming the new methodological bases and educational repertoire of folk-song performers.