The dissertation presents the results of a comprehensive study of Crimean Tatar folklore in academic and jazz compositional practice. The composer's practice is diverse: in each work, the elements of Crimean Tatar folklore are presented by the author in an individual and unique way.
The works of composers Edem Nalbandov, Elvira Emir, Riza Bekirov, the author of the dissertation with an emphasis on Crimean Tatar song folklore, were analyzed. The process of incorporating folklore into academic music was based on the traditions of the founders of the Crimean Tatar school of composers (Il. Bakhshish, A. Kavri, A. Refatov, Ya. Sherfedinov).
On the basis of the musicological analysis of E. Nalbandov's symphonic works ("Variations" for trumpet with symphony orchestra on the theme of the Crimean Tatar folk song "Chal atimnyntirnpgyi", "Impromptu" for trumpet with orchestra) the influence of Crimean Tatar song folklore on the musical structure and development of melodico works was noted -harmonic and rhythmic elements inherent in folk music (interval, oriental ornamentation, dance rhythm). In the work "Impromptu" by E. Nalbandov, bright genre contrasts are represented by song and dance themes, intonationally close to the Crimean Tatar song genre of the mountain regions "turkyu".
The musicological analysis of Elvira Emir's work (chamber piece "Impromptu" for violin and piano) proved the dominance of the elements of Crimean Tatar song folklore at the intonation-rhythmic, genre-figurative levels. The closeness of the author's subject matter to folklore and allusions to the best examples of the violin repertoire. From the analysis of the orchestral piece by E. Emir "Patterns of Crimea" (performed by violin and piano), the author's attraction to the organic synthesis of folk and impressionistic elements was noted, which was reflected in the figurative and thematic sphere with oriental ornamentation, folk improvisation and recitativeness as characteristic features of Crimean Tatar song folklore.
The synthesis of academicism and folklore prevails in E. Emir's soundtrack to the film adaptation of M. Kotsyubynskyi's three novels "The Tatar Triptych". The music for Riza Bekirov's plays ("Aslykhan", "Nameless Star", "Stolen Bride", "Mother's Heart", "Love Story", "Arslan and Melek", "The Tale of the Thief Amet and the Pickpocket Memet") was written in the academic traditions with the predominance of Crimean Tatar song folklore in intonation-figurative and rhythmic-metrical organization.
The specifics of the interaction of folklore and jazz are presented in the work of modern Crimean Tatar authors and performers (the Hayat ensemble; singers S. Osmanova, S. Jamaladinova, R. Bolatova, Sh. Zmorka, N. Balich, A. Balich, E. Serikhalil, U. Bekirov). It was found that the works of authors and performers are dominated by characteristic features of jazz with improvisational and complex metrorhythms, sample models (patterns) and melodic standards. The originality of instrumental ensembles, often with solo performers, is noted. The use of Crimean Tatar folklore in jazz compositions occurs through the assimilation of intonation, mode, timbre elements
The periodization of Crimean Tatar jazz art from the 1970s to the 1990s has been specified - the emergence of the first Crimean Tatar jazz instrumental ensembles based on the ancient traditions of Crimean Tatar musical instrumentalism ("Sato"). The period of the 1990s - 2020s - the introduction of improvisational practice with the direct use of original folklore material in arrangements of specific folk song or dance melodies. Performers often resort to imitation of folk performance. The Crimean Tatar song folklore is fully revealed in the jazz compositions of S. Jamaladinova performed: "Zamanily", "I believein U", "You are my love", "Wings", "Pencereden", "Historyrepeating", "Oh, verse, my verse", "1944", etc.
Analysis of the author's cycle "Jazz Etudes" for piano written in ethno-jazz style. U. Bekirov writes and performs music in the styles of funk, fusion and ethno-jazz. The choice of the etude genre is connected with academic and improvisational-jazz traditions.
Keywords: folklore, composer's practice, academic music, Crimean Tatar song folklore, chamber and instrumental music, soundtrack, jazz, genre palette, arrangement, ethno culture, musical project, composer's biography.
