UKRAINIAN BAYAN CREATIVITY IN THE CONTEXT OF INTERACTION BETWEEN CULTURE AND ART

Abstract

The purpose of the article is an attempt to take a fresh look at Bayan’s creativity, combining the study of musicology and culturology. It expands the possibility of creating a holistic panorama of modern bayannnogo art on the basis of identifying the features of its social existence, the dynamics of innovation and artistic tendencies. Changes in the interconnection of culture with art caused by historical transformations have reflected on the qualitative peculiarity of Ukrainian music. it evolved - from the folk song basis of early works to the artistic expression of the multi-faceted postmodern. At an early stage, the nature of its interaction with culture was determined primarily by the power policy, which, following ideological and educational guidelines, implemented the applied function of culture associated with direct management of artistic activity. Restraining development of the influence of Soviet culture has affected the flourishing creativity immersed in elements of simplified musical presentation and linguistic homogeneity of folk-song models as a straightforward reflection of the ideas of the nationality of art. Another type of interaction with culture reveals contemporary Bayan creativity, wrapped up by the influences of the era of postmodernism. Her character carries the imprint of a dynamic and at the same time heterogeneous humanitarian discourse. Represented by the composers of the avant-garde wing, Bayan’s creativity will advance the prestigious values of postmodern exclusivity, with its linguistic versatility and exquisite concepts of synthetism. Given the mental shift of elite composer consciousness, these trends stimulate fruitful processes of differentiation and enrichment of the creativity of open-witted, open to cultural-making processes. Involving methods of broad theoretical understanding of bayan creativity opens new opportunities a priori valuable in the science of forecasting. In our case - the possibility of revealing in the historical typology of culture the regularity of the development of the bayan genre and its perspectives.