Ансамбль цимбалістів як представник українського народного виконавства

Abstract

У статті розглянуто зародження і функціонування традиційного ансамблевого цимбального виконавства на Україні. На прикладі ансамблю цимбалістів села Завалів Тернопільської обл. , який був одним з перших ансамблів такого типу на Україні, досліджено репертуар, прийоми гри, методи навчання, типи інструмента. Проаналізовано причини виникнення та типи однорідних ансамблів цимбалістів як особливого феномена традиційної музичної культури українців.

В статье рассматривается зарождение и функционирование традиционного ансамблевого цимбального исполнительства на Украине. На примере ансамбля цимбалистов села Завалов Тернопольской области, который был одним из первых ансамблей такого типа на Украине, исследуется репертуар, приемы игры, методы учебы, типы инструмента. Проанализировано причини возникновения и типы однородных ансамблей цимбалистов как особого феномена традиционной музыкальной культуры украинцев.

The article clarifies the history of origin and development of the ensemble cymbal execution in context of Ukrainian traditional instrumental culture. There we can see the analysis of the evolution of Ukrainian cymbal execution in the context of world music culture. In particular, there are the prevalence of the musical instruments (which is similar to the harp), such as cymbals in China, Southern-Eastern and Central Asia and the Middle East. There is a review of the stages of the development of Ukrainian cymbal execution from the XVI century, when the cymbals are mentioned in oral creativity of the Eastern Slavic nations, which now firmly belong to Ukrainian folk set of instruments. The author divides on the stages of development of Ukrainian cymbal execution of the XX century: the conception of the concert and stage style of the cymbal execution with «Schunda's» method, reconstruction of an authentic instrument, which allowed to expand significantly the technical and artistic expressional possibilities of cymbals. It is concluded that a gradual entry into the practice of professional music art and amateur theatrical creation, and consolidation of new construction cymbals accompanied by the formation of public interest in the cymbal executed art on the side of listeners and composers of the country. The research of the development and operating cymbal ensemble execution is actual in Ukraine in the context of the above saying ones. Scientific works of E. Hornbostel, C. Sachs, J. Schunda, M. Lysenko, H. Khotkevych, A. Humeniuk, M. Khai, T. Baran, O. Nezovybatko, L. Cherkaskiy are the source knowledge base. However, in the above-mentioned works there is not completely clarified folk ensemble execution on cymbals. This article highlights the foundation of the ensemble of the cymbalists in Ukraine at the first in the native musicology, particularly in the example of the folk ensemble of cymbalists of Zavaliv village (Pidhaitsi district, Ternopil region), which was one of the first bands of cymbalists in Ukraine. Scientific works of L. Nosov, V. Chystukha, S. Bartish and the archival documents about folk ensemble of cymbalists are the sources of the research of the work of this ensemble. The aim of this article is research, description and delineation of the condition of the maintaining cymbal ensemble execution as a traditional instrumental Ukrainian culture in the historical and modern aspects. It is noted that the construction of traditional cymbals had a conservative effect on its order and sound set and helped to preserve the tradition and did not allow it to «merge» with the secondary, club-amateur work. We can see the causes of appearing and types (duo, trio, quartet, ensemble and orchestra) of homogeneous ensembles of cymbalists. As an example of the folk ensemble of cymbalists from Zavaliv (Ternopil region) there is the research of traditional ensemble execution of Ukraine. Particularly, we can see the figure of the head (I. Yurkevych) and members of the ensemble, the number and types of instruments (small cymbals, viola), teaching methods, repertoire. Also there is the describing of the modern ensemble staff, orders and sound sets of the different kinds of cymbals, playing techniques (pincers, glissando, playing of «paltsiatky»), the most used tonality, choice of repertoire , authenticity of concert costumes. Also there is the reason of using of the term «paltsiata» in modern ethnomusicology - wooden sticks, which are used to play on cymbals. Also you can see other ethnoregional names of «paltsiata», including the name «baltsiata», which is used by Zavaliv musicians. There is the description the ways of techniques of string muting. There is an emphasis on that fact that Zavaliv folk cymbal ensemble is the only representative of traditional manner of execution and repertoire in Ternopil. It is mentioned that the traditional musical instrumental culture of Ukrainians is the bearer of spiritual and material culture of the Ukrainian nation and have kept to our days its applied, customary and style forming function, which grew in academic and professional performance. The position, which is occupied by the Ukrainian academic performing school among cymbals school of other na¬tions, and that impact, which issues on the evolution of the world cymbal art, allow to consider Ukrainian cymbals and ensemble executing as one of the phenomena of world music culture of the XX century.