MULTI-TIMBRAL FREE-PRESET BAYAN “UKRAINE 106/64Х120/58-ІV-15” AS A PROFESSIONAL CONCERT INSTRUMENT OF ACADEMIC PHILHARMONIC ORIENTATION

Abstract

The proposed article updates the issue of researching Ukrainian harmonic-bayan-accordion organology. In the context of this issue, the study defines the chronological range of functioning of the Ukrainian industrial production of harmonicas, bayans and accordions and presents the author’s periodization of its phased development. Ukrainian harmonic-bayan-accordion organology as the chosen object of study led to a detailed examination of the differential structural and organological developments of Zhytomyr, Kreminna, Poltava, and Horlivka masters and the identification of the main structural and instrumental achievements of each of the four musical enterprises. Among the entire Ukrainian assortment of harmonic, bayan and accordion instruments, the author of the article specifies the most advanced structure of a professional concert instrument of academic philharmonic orientation – the multi-timbral free-preset bayan “Ukraine”. Adhering to the principle of comprehensive scientific study, the researcher reflects the evolution of the constructional style of thinking of Zhytomyr craftsmen, which culminated in the creation of the bayan “Ukraine”. The specified subject of the research has led to a detailed analysis of the structure of the multi-timbral free-preset bayan “Ukraine” in terms of its main external, internal and external-internal components. The presentation of the material has the following style directions: verbal and descriptive, visual in the form of photographs of the main external and internal components of the bayan “Ukraine”, as well as graphic images of the right keyboard diagrams, bass-chord and free-bass (bass-unpreset) manuals, and timbre registers.