The dissertation is devoted to the study of Anatolii Haidenko's aesthetic, genre and stylistic constants of Bayan's creativity.
It was pointed out to A. Haidenko's significant contribution to the art of bayan art and emphasized the multi-level connections of his artistic quest with the main trends of the development of contemporary ukrainian music. It is emphasized that in the diversity of creative composition of the composer, the leading place in it belongs to the works of the bayan - an instrument, from the mastering of which the process of involving the young musician in the mysteries of art began. The necessity of a holistic study of the achievements of A. Haidenko, the consideration of them in the context of the style paradigms of composer's creativity and contemporary ukrainian music in general, is emphasized.
The dissertation describes the state of scientific reflection on the work by A. Haidenko and concludes that his level of performance and listening demand for composer music is inadequate. The stages of formation of the artistic personality of A. Haidenko are considered, which reflect the difficult path from the status of «amateur author» to the recognized master of large forms and exquisite miniatures. The direction of activity of the artist during fifty years of creative way has been traced: composer, performing, pedagogical, scientific, methodical, musical and public.
The aesthetic principles by A. Haidenko's work are characterized not only by the composer's statements documented in the existing literature, but also by the materials received by the author of this dissertation in personal conversations with the composer. The issues covered in the relevant section of the dissertation are related to understanding the essence of art, the immediate tasks of the creator, the impulses that lead to the birth of the artistic design, the attitude to such categories as: traditional and innovative, conscious and intuitive, emotional and rational. Especially important in the light of further analytical observations are the opinions of the composer regarding the selection of intonational material and ways of working with it, the ratio of the principles of contrast and monotheism, the vision of the nature of the musical genre and form.
In the work, about fifty works by A. Haidenko for the accordion, duet of accordions and accordion are analyzed. On the basis of analysis of their scale-compositional, technical-performing and genre-stylistic features, a working typology of the composer's work in the given sphere is proposed. According to the scale-compositional parameter, two types of works are distinguished – deployed plays, performed as independent works, and small miniatures, combined into cycles. The technical parameter became the basis for the differentiation of the composer's bean pieces into the concert, designed for a developed executive apparatus, and instructional, intended for novice musicians. The third parameter is related to the quantitative composition of the performers, as along with solo works, the «baggage» by A. Haidenko contains a considerable number of dummy opuses. By author's symbols, the works of the composer are divided into genre and stylistic groups: preludes-paintings, sketches, waltzes-muzeets, fantasies on folk themes, etc.
