The Accordion in the Music of the First Bashkirian Composers (on the Example of the Works of Masalim Valeyev)
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Abstract
The author turns to the issue of implementation of the hand
accordion with horizontal movement of the fur (making it
possible to perform simultaneously the melody and the bass and
chord accompaniment) into the musical culture based on monody.
The compositions of Masalim Valeyev – the first Chairman of the
Bashkir Section of the Composers’ Union of Russia – are examined
for the first time from the positions of disclosing the role of the
bayan instrumental texture in his compositions. The analysis of
the textures and performances of a number of compositions (such
as the incidental music to the theatrical performances of the plays
“Khakmar” and “The Black Visaged,” as well as the piano pieces
“Pizzicatto” and “Polka”) testify of the composer’s ability to play
the accordion (the bayan or the single-row accordion), as well
as the influence of the accordion’s constructive peculiarities on
the textural organization of the instrumental compositions. The
diatonic accordion may be considered as the source for mastery
by the Bashkir composers of the traditions of the culture of music
with many-voices.
Keywords: accordion, bayan, instrumental compositions by
Masalim Valeyev
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References
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