Tyshchyk V. Programming in accordion music of Ukraine (in the 1960s-the 2010s)

The thesis deals with program music as a widespread phenomenon of button accordion art in Ukraine (both composers and performers). Based on studying musicological references and creative practical training of composers- button accordionists of the 1960s-the 2010s, there are definitions which formed the idea of musical semantics in the context of academic art for button accordion. Programming in music (in a broad sense) is non-musical factors in the artistic concept of the piece of music that affect the composer's idea and performance. At the present stage of creative practical training, programming in an button accordion piece is interpreted as a kind of musical semantics, which is embodied by the composer in immanent musical means through verbal design of the author's message for performers and listeners. The types of programming in button accordion art (compositional works and their performance) are substantiated on the basis of generalizing mutual influences of different kinds of arts in genres of academic folk-instrumental music-making: generalized, generalized-plot, sound-imitating, picture-associative, genre-related, genre as intergenre synthesis. The stylistic patterns of big program works in different genres (suites, concerts with a chamber orchestra, etc.) in the aspect of performing the program idea of the composer are analyzed. For example, V. Zubytsky’s accordion sonata № 2 Slovyanska is an example of generalized programming, typical of the romantic era of Ukrainian academic music (from M. Lysenko’s works to B.Lyatoshynsky’s symphony and even “Kyiv avant-garde” representatives).