Сучасні методи опрацювання народної пісні (на прикладі хорових обробок Олександра Яковчука і Ганни Гаврилець)

Abstract

У статті досліджено сучасні методи опрацювання народної пісні на прикладі обробок купальської пісні “Через наше сельце” для чоловічого хору a capella О. Яковчука та для жіночого хору a capella Г. Гаврилець. Специфіку їх авторських стилів розглянуто в інтерпретації народного першоджерела. Охарактеризовано своєрідність авторського підходу, його питомі риси щодо формотворення і засобів виразності для втілення закладеній у народному зразку образності.

В статье исследованы современные методы обработки народной песни на примере обработок купальской песни “Через наше сельцо” для мужского хора a capella А. Яковчука и для женского хора a capella A. Гаврилець. Специфика их авторских стилей рассмотрена в интерпретации народного первоисточника. Охарактеризовано своеобразие авторского подхода, его удельные черты по формообразования и средств выразительности для воплощения заложенной в народном образцу образности.

At the present stage of the development of Ukrainian musical culture, the notable variety of artistic solutions to the stylistic situation of postmodernism, the mobility of the educational industry in terms of expanding students’ perceptions about the current context of Ukrainian music is of paramount importance. Contemporary composer works offers artists a wide panorama of genres, forms and updating of stylistics. In this aspect, the branch of choral music is especially bright, due to the activation of the concert and festival movement of Ukraine, the activities of numerous collectives. One of the productive branches of the industry is the genre of folk song processing, loved by both composers and performers. Scientific consideration of choral work by A. Jacovchuk and A. Gavrylets is just beginning. Consequently, the comprehension of modern methods of processing folk patterns is considered an essential component for ensuring the proper reproduction of the author’s artistic intention. The research is related to the comparison of modern methods of treating folk songs on the example of the treatment of the Kupala song “Through our selce” for the male choir a capella by A. Jacovchuk and for the female choir a cappella by A. Gavrylets. The methodology of the study is to apply the comparative method and the method of holistic analysis. This methodological approach allows us to reveal the artistic and expressive features of these works, to analyze the differences between the author’s representation of the folk source. The scientific novelty of the work is to broaden ideas about the evolution of the genre of choral processing in contemporary Ukrainian music. A comparative analysis of two treatments of the same folk source makes it possible to grasp the originality in each case of the author’s approach more deeply, to reveal its specific features regarding the formation of the form and the means of expressiveness for the embodiment of the figurative set in the national sample. Both choral processing of the Kupala song “Through our selce” belong to the dynamic type of this genre. A. Jacovchuk proposes the dynamics of the coupling-variation form, its expansion (framing sections, additional phrase repeating), tonal contrasts (twice the change of tonality – the transition to a parallel major), timbre dramaturgy (change of choral timbres when presenting a melody), choral coloring (register separation of parties) and sound reproduction, imposing on the theme of its same element in rhythm magnification, the effect of polytonality with the participation of imitation. All these means testify to the great mastery of the artist in the field of processing folk sources. True, in the folk existence, the genre of Kupala songs functioned only in feminine performances. A. Gavrylets shows the subtle possession of means of choral writing, the ability in the most intonation structure of the folk melody to reveal the potential for writing counterpoint lines. Using tone dramaturgy, the composer interestingly develops the couplet-variation form, giving it through (the timbre contrasts of the presentation of the topic, the distribution of phrases between different voices, the combination of theme-relief and background-pedals). At the same time, its integrity is facilitated by interludes between the couplets on the intonation material of the initial phrase. Selected examples confirm the continuity of the tradition of folklore sources using in contemporary Ukrainian music. A promising direction for further scientific development is the study of author’s styles of these artists in the aspect of the influence of folk-verse sources in original works for the choir.