ACOUSTIC-AESTHETIC PARAMETERS OF THE MODERN CYMBAL SOUND MODEL: ANALYTICAL ASPECTS ON THE EXAMPLE OF THE FOLK MUSIC ENSEMBLE “STOZHARY”

Abstract

The article considers the modern cymbal sound model as a multi-level acoustic-aesthetic system, which is formed at the intersection of organological, performing and artistic-interpretative factors. The study is based on the analysis of audio and video materials of the folk music ensemble “Stozhary”, which represents the current trends in the development of Ukrainian folk instrumental art. The work combines the methods of music-theoretical analysis, spectral measurements and organological explication, which made it possible to trace the relationship between the structural parameters of the instrument, playing technique and artistic result. Spectral analysis showed that modern Ukrainian cymbals are characterized by distinct frequency brightness, balanced mid-frequency saturation and dynamically controlled form of attack and decay. In the performance practice of the “Stozhars”, these parameters acquire functional differentiation: in dance compositions, the instrument plays the role of a rhythmic core due to the strengthening of the percussion component, while in lyrical works, a soft, cantilevered timbre with an extended aftersound prevails. It has been found that the choice of hammer material, the striking technique and the design of the instrument significantly affect the figurative sphere of sound, determining the timbre plasticity and stylistic adequacy of the interpretation. Organological observations have confirmed that modern structural modifications – strengthening the resonant soundboard, optimized string tension and the use of materials with increased elasticity – expand the dynamic range and ensure the stability of the timbre profile in different registers. This contributes to better ensemble fusion and increased expressiveness of melodic episodes. Aesthetic analysis has shown that the cymbals in “Stozhary” function as a carrier of traditional timbre symbolism and at the same time as an instrument of a modern artistic model, capable of stylistic expansion and expressive dramatic role flexibility. It is generalized that the modern cymbal sound model is not fixed, but appears as a dynamic system that adapts to the performance tasks, genre context and aesthetic guidelines of the ensemble. The results obtained create a basis for further research into Ukrainian cymbals in the direction of spectral parameterization, comparative analysis of ensemble models and updating of performance training methods.