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SOURCE:    Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art.
Issues of Theory and Practice
. Tambov: Gramota, 2013. № 12. Part 1. P. 103-108.
SCIENTIFIC AREA:    Study of Art
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Kuivinen Paul Walter
Kazan State Conservatoire named after N. Zhiganov (Academy)

Abstract. The article attempts to reveal the role of accompaniment when playing the accordion in the Tatar folk tradition. Basing on the analysis of the Tatar accordionists’ statements and the transcription of their performances the conclusion is made that the purpose of musicians is not so much the use of the means of mode-functional harmony or rhythm as the parallel duplication of melody by bass voice. Having taken the accordion, created in accordance with the norms of the Western-European musical thought, into the culture, the Tatar accordionists made ??it sound in a way that does not blend with either the framework of the Tatar monodic tradition or the framework of the western musical culture.
Key words and phrases: народная инструментальная исполнительская традиция, татарский фольклор, гармонь, хромка, рояльная гармонь, татарская гармонь, аккомпанемент, folk instrumental performing tradition, Tatar folklore, accordion, khromka (kind of accordion), piano accordion, T
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