DOI: https://doi.org/10.31318/2522-4190.2018.121.133225

“Ethno-chaos” of “Dakha Brakha” band as an example of the principle of “pile” in music

Iia Fedorova

Abstract


The article analyzes peculiarities of the works of the band “Dakha Brakha”. “Dakha Brakha” is a modern Ukrainian music band, one of the most prominent representatives of world music in Ukraine. According to musicians, the main creative principle of “Dakha Brakha” may be expressed by the metaphor of “ethno-chaos”. The necessity of a theoretical substantiation of this title makes the relevance of the study. The leading position of the works of the band is revealed through the definition of “ethno-chaos”. With the purpose of indicating the peculiarities of the listeners' perception of the creativity of the group, were given fragments from various listeners’ feedbacks.) In the article are considered the basic principles of stylization of folk songs viewed in the music of “Dakha Brakha” on for the performances of "Mystic Ukraine” (“Prologue to “Macbeth””, “Richard III. Prologue”, “King Lear. Prologue”), as well as in the compositions of the band's albums (“Na dobranich”, “Yahudky”, “Na mezhi”, “Light” and others).

The main objective of the study is attribution of the principle of stylistic diversity in the work of the band.

Methodological base: for the purpose of using the correct musical terminology, was determined the type of musical creativity of "DakhiBrahi" (in accordance with the theory of musical practices of T. Cherednichenko) in relation to the group's creativity. There was made an attempt to attribute the principle of stylistic diversity to the works of the band. It points to the principle of eclecticism, and peculiarities of its organization – the principle of “pile”. This principle is concordant with the aesthetics of postmodernism and correlates with the principle of “pile” which is discussed in its theoretical works.

Conclusion is made about correlation of peculiarities of organizing eclecticism in the creative works of “Dakha Brakha” band with the “pile” principle, that is considered in the works of O. Zyn'kevych, T. Cherednichenko and О. Yakymovych.. Thus, the significance of the study is that the creativity of the “Dakha Brakha” band can be considered a manifestation of Ukrainian postmodernism.


Keywords


performances of Vladyslav Troitskyi; “DAKH“ Contemporary Art Center; performance; ethnic music; folklore; world music; postmodernism

References


Vladislav Troitskiy: “Dzhaz – eto svobodnaya muzyika” [Vladislav Troitskiy: “Jazz is free music”]. Available at : http://www.dsnews.ua/politics/art32273 (accessed 08.12.2017). [in Russian].

Gankin, L. Retsenziya “Afishi” [Review of “Afisha”]. Available at : https://www.afisha.ru/concert/593349/ (accessed 08.12.2017). [in Ukrainian].

Gorbachev A. Fenomenalnyiy etnodzhazovyiy performans pro zhizn, smert i Gogolya [Phenomenal ethno-jazz performance about life, death and Gogol]. Available at : https://www.afisha.ru/concert/609136/reviews/afisha/ (accessed 08.12.2017). [in Russian].

Grigoreva, G. (1988). K voprosu ob eklektike v sovremennoy muzyike (opyit postanovki problemyi) [To the question of eclecticism in modern music (experience of a problem statement]. In : Muzyikalnoe myishlenie: problemyi analiza i modelirovaniya : Sb. nauchnyih trudov [Musical thinking : the problems of analysis and modeling: Collection of scientific works]. Kiev : Kievskaya goskonservatoriya, pp. 10–17 [in Russian].

“DahaBraha”. “Myi s massovoy kulturoy drug druga ne zamechaem” [“Dakha Brakha”: “We and mass culture do not notice each other”]. Available at : http://piter-news.net/other/2013/05/04/795.html (accessed 08.12.2017). [in Russian].

Zinkevich, E. (2007). Metamorfozyi muzyikalnogo postmoderna [Metamorphoses of musical postmodern]. In : Zinkevich E. Mundus musicae. Tekstyi i kontekstyi: izbrannyie stati [Mundus musicae. Texts and contexts: selected articles]. Kiev : Zadruga, pp. 517–528 [in Russian].

Konen, V.(1994). Tretiy plast: Novyie massovyie zhanryi v muzyike XX veka [The third layer: New mass genres in the music of the 20th century]. Moskva : Muzyika, 160 p. [in Russian].

Kryilova, L. (1975). Funktsii tsitatyi v muzyikalnom tekste [Functions of quotation in a musical text]. Sovetskaya Muzyika, 8, pp. 92–97 [in Russian].

Pits, T. “DakhaBrakha”: “Mayemo buty syl'nymy” [“Dakha Brakha”: “We have to be strong”]. Available at :http://molbuk.ua/vnomer/kultura/39709-dakhabrakha-mayemo-buti-silnimi.html (accessed 08.12.2017). [in Ukrainian].

Cherednichenko, T. (1999). Brend-estetika [Brand-aesthetics]. Neprikosnovennyiy zapas, 5, pp. 73–79 [in Russian].

Cherednichenko, T. (2002). 70-e. Muzyikalnyiy zapas. Problemyi. Portretyi. Sluchai [Musical stock. 70ss. Problems. Portraits. Cases]. Moskva: Novoe lit-e obozrenie, 592 p. [in Russian].

Yakimovich, A. (1993). Magicheskie igryi na gorizontalnoy ploskosti. Kartina mira v kontse XX v. [Magic games on a horizontal plane. A pictures of the world at the end of XX century]. Mirovoe Drevo, 2, pp. 121–136 [in Russian].


GOST Style Citations


Владислав Троицкий: «Джаз – это свободная музыка». URL: http://www.dsnews.ua/politics/art32273 (дата обращения: 08.12.2017).

Ганкин Л. Рецензия «Афиши». URL: https://www.afisha.ru/concert/593349/ (дата обращения: 08.12.2017).

Горбачев А. Феноменальный этноджазовый перформанс про жизнь, смерть и Гоголя. URL: https://www.afisha.ru/concert/609136/reviews/afisha/ (дата обращения 08.12.2017).

Григорьева Г. К вопросу об эклектике в современной музыке (опыт постановки проблемы) // Музыкальное мышление: проблемы анализа и моделирования: Сб. научных трудов. Киев : Киевская госконсерватория, 1988. С. 10–17.

«ДахаБраха»: «Мы с массовой культурой друг друга не замечаем». URL: http://piter-news.net/other/2013/05/04/795.html (дата обращения: 08.12.2017).

Зинькевич Е. Метаморфозы музыкального постмодерна // Зинькевич Е. Mundus musicae. Тексты и контексты : избранные статьи. Киев : Задруга, 2007. С. 517–528.

Конен В. Третий пласт: Новые массовые жанры в музыке XX века. Москва : Музыка, 1994. 160 с.

Крылова Л. Функции цитаты в музыкальном тексте // Советская музыка. 1975. No 8. С. 92–97.

Піц Т. «ДахаБраха»: «Маємо бути сильними». URL: http://molbuk.ua/vnomer/kultura/39709-dakhabrakha-mayemo-buti-silnimi.html (дата звернення: 08.12.2017).

Чередниченко Т. Брэнд-эстетика // Неприкосновенный запас. 1999. No 5. С. 73–79.

Чередниченко Т. Музыкальный запас. 70-е. Проблемы. Портреты. Случаи. Москва : Новое лит-е обозрение, 2002. 592 с.

Якимович А. Магические игры на горизонтальной плоскости. Картина мира в конце XX в. // Мировое древо. 1993. No 2. С. 121–136.





ISSN 2522-4190 (print)
ISSN 2522-4204 (online)