Kysliak B. The art of the accordionist as a component of folk-instrumental performance in the European space (system-activity approach).

The dissertation represents the experience of substantiating the specifics of accordion art in the communicative space of the 21st century on the basis of a system-activity approach. The urgency of the topic is determined by: the existing intensification of bayan-accordion performance in the conditions of global practice of the 21st century; the expediency of developing the doctrine of the accordion (accordionics) and ways of its artistic development on a systematic basis; the search for an appropriate methodology for studying the personality phenomenon of an accordionist musician in the light of the activity approach; the urgent need to create a panorama of the creative activity of accordionists in the world; clarifying the value guidelines of accordionists' creativity in new communication formats, creative art projects. The purpose of the study is to substantiate the specificity of the accordionist's art in the European space on the basis of the system-activity methodology. The object of the study is accordion and bayan performance in European and Ukrainian musical culture; the subject is the art of the accordionist as its component. The scientific novelty of the obtained results. In the dissertation for the first time: • the experience of substantiating the system-activity approach to accordion performance as a self-sufficient art phenomenon of the 20 – 21st century has been presented; • the doctrine of the performing art of the accordionist (accordionics); • the history of accordion art at the main stages of its development in Ukraine and in the world has been highlighted; • the sound image of the accordion is defined through comparison with the bayan analogue (art); • the genre-performance priorities in creativity for mixed ensembles with the participation of the accordion have been revealed; • the intermodal phenomena of modern creative projects with the participation of the accordion have been evaluated on the basis of artistic synthesis, in particular, the visualization of musical compositions (or vice versa, when music conquers a media product); • we have compiled an anthology of outstanding accordionists whose creative work represents the world context of accordion art as a holistic phenomenon of performing creativity; • the role of the accordion in mixed ensembles has been revealed and new interpretative versions of classical and modern compositions have been introduced into concert circulation; • the specifics of the functioning of new formats of socio-cultural communication, the role of creative projects and management with the participation of the accordion have been clarified. The following received the further development: • the concept of "modern accordion", proposed by I. Yergiev, which contains the idea of the need to distinguish between the realities of the artistic existence of two related instruments in scientific circulation; • the experience in the systematization of sources on the organology of the accordion (in particular, the involvement of the electronic accordion and bayan Roland, Bugari Evo, Musictech in the musical performance). The thesis consists of five sections, taking into account the historical-theoretical and performing-practical components of the accordionist's art. The logic of the development of the author's concept reflects the movement: from the theory of the instrument (organology) – through the search for methodology (system-active, synergistic, stylistic, phenomenological) and the study of the original repertoire for the bayan and accordion – to the compilation of an "anthology" of the world's outstanding accordionists (4.1) and creative projects implemented by the author in the artistic life of Ukraine in the last decade (5.3).