Rieznik O. The Formation and Development of the Production of Bayan-Accordion Instruments in Ukraine in the XXth Century (organological aspect).

The dissertation presents the results of theoretical generalization of design and organological characteristics and achievements of the Ukrainian harmonic-bayan-accordion production in the context of the retrospective of its development in the XXth century. The urgency of the study is due to the need to study the achievements of the Ukrainian system of the production of reed instruments, which at the beginning of the new millennium actually ceased to exist, but its long practical experience, creative achievements and results of activity constitute a real socio-cultural phenomenon, which today continues to play an important role in the cultural and spiritual development of Ukrainian society. It is the Ukrainian musical industry of reed pneumatic keyboard instruments, which in the 1930s and 1940s was mainly based on the principles of artisanal activity of Ukrainian craftsmen, provided the material basis for the dynamic development of Ukrainian bayan-accordion art in the XXth century and was able to fully provide high-quality instruments the domestic musical industry at all its links − from amateur-amateur and educational and to professional-philharmonic and academic ones. The scientific novelty of the obtained results is that in the Ukrainian musicology for the first time the process of development of harmonic-bayan-accordion production in Ukraine in the XXth century was the subject of a special and comprehensive research, due to which the formation and the development of the Ukrainian system of industrial production of bayan-accordion instrumentation in the 30s and 90s of the XXth century were studied; the author’s periodization of the development and functioning of the Ukrainian production of reed pneumatic and keyboard instruments in the XXth century was introduced; the author’s classification of the Ukrainian harmonic-bayan-accordion instruments was proposed.; the main constructive types of harmonic-bayan-accordion instrumentation, produced by Ukrainian musical factories in the XXth century, are described and characterized; the construction of the bayan «Kreminne 55x100-II» and the set of orchestral harmonics «Kreminne» were analyzed and their design and organological features were researched; the specification of organology of the concert and multi-timed ready-made bayan «Ukraine» as a crown of the instrument creation for the concert professionally academic sphere was characterized. The information on the process of the appearance of manual harmonic and the main stages of its constructive evolution at the initial stage of development (XIXth − early XXth centuries), as well as the principles and specifics of sound, timbre formation of accordion instrumentation of domestic production in the context of its overall design and organological characteristics were specified. Further development of the idea about the peculiarities of the distribution and functioning of harmonic in the musical culture of Ukraine during the period of the XIXth − the beginning of the XXth centuries as a factor in the initiation and formation of harmonic production became known. A new view on the process of the origin and functioning of the artisanal production of harmonics and bayans in Ukraine in the late XIXth and first decades of the XXth centuries was proposed in the context of socio-historical changes of the specified time. The practical value of the study is the possibility of using its materials in lecture and practical courses of artistic higher educational establishments, in particular: «History and theory of performing arts on folk instruments», «Method of teaching games on folk instruments», «Special instrument (bayan, accordion)» , «The main instrument (bayan, accordion)», as well as to become the basis proposed by the author of the dissertation «History of bayan-accordion organology (theory and practice of the Ukrainian industrial production)». Materials of the dissertation can also significantly expand the representation of Ukrainian professional musicians about the musical-industrial bayan-accordion infrastructure that existed in Ukraine in the XXth century.