TRANSFORMATION OF FOLKLORE IN YURII ISHCHENKO'S CHAMBER-VOCAL CYCLE "CALENDAR SONGS"

Abstract

Analysis of Yuri Ishchenko’s chamber-vocal cycle "Calendar Songs" demonstrates the peculiarities of his own reading of folk poetry texts. The author does not quote folklore, he creates melodies based on the transformation of folk songs: these are narrow-volume melodies, folk music intonations, polymetric and variable rhythmic formations, a variant principle of development. The article traces the influence of the linguistic and stylistic environment of the second half of the twentieth century on the development of Yuriy Ishchenko’s creative personality, on the formation of his worldview, and hence the stylistic features inherent in the artist’s musical language. In the author’s "Calendar Songs", as following the principles of the "new wave of folklore", the folk-intonational stylistics of various folk genres is reproduced in the picturedynamic plan, the mastering and rethinking of the practice of folk music are observed. Such techniques include the introduction of coloristic parallel various interval combinations, polytonal combinations, the use of the most established glissando moves, sound techniques, which is characteristic of folk song samples. Creative understanding of folklore: extensive use of folk song diatonic, game and speech elements of ritual genres, combining them with modern musical and expressive means – features that gave the composer’s songs an interesting poetic form, brought ancient calendar-ritual patterns closer to the contemporary.