On the Study of the Stylistic Features of Accordion Music of the Peoples of the Northern Caucasus

The object of the study is the accordion music of the peoples of the North Caucasus. The subject of the research is the stylistic features of instrumental performances by the Adyghe, Ossetians, and Vainakh, which are acquired within the framework of professional training in playing national instruments at the North Caucasian State Institute of Arts. The authors operationalize the concept of "accordion music," reconstruct the history of the appearance of the chromatic accordion in the Adyghe environment, analyze the process of forming the educational and concert repertoire of accordionists, and identify the most characteristic intonational and metro-rhythmic features of the instrumental performances of the peoples of the North Caucasus. The role of M. Mamedov and K. Tletsaruka is especially highlighted in the establishment of the professional school of accordion performance. The conclusion emphasizes the pedagogical focus on developing universal accordionists capable of improvisation, performing on a professional stage, and simultaneously remaining wedding accordionists well versed in the traditional repertoire. The work employs a cultural approach that examines the issue of stylistic features of the instrumental music of the peoples of the North Caucasus in the context of the sociocultural transformations of the 20th century, as well as the method of comparative analysis of the metro-rhythmic and intonational characteristics of the accordion performances of the Adyghe (Kabardians and Adyghes), Ossetians, and Vainakh. The scientific novelty of the research lies in the formulation of the problem. For the first time, the question of the distinctive features of accordion performances by the peoples of the North Caucasus is raised, which, on one hand, share many commonalities (the connection of instrumental music to dance culture, high speed of performance, diverse ornamentation, and a special kind of polyphony), while on the other hand, possess unique specific characteristics in melody, modal-harmonic language, metro-rhythm, and texture. The conclusions highlight the sociocultural significance of accordionists mastering the stylistic performance features of various ethnic performances. The ability to perform the music of historical neighbors largely corresponds to mastering their verbal language. Thus, not only is trust strengthened between them, fostering empathy and regional identity, but the status of the musician is also elevated, enhancing their involvement in the musical culture of the region.