METHODOLOGICAL APPROACHES TO THE TRANSCRIPTION OF KEYBOARD AND ORGAN POLYPHONY FOR THE BAYAN

Abstract

The purpose of the article is to substantiate methodological approaches to transcribing Baroque clavier and organ polyphony for the ready-selective bayan, taking into account the instrument’s structural properties, the stylistic requirements of Baroque music, and the principles of polyphonic writing. The study emphasizes the necessity of adapting polyphonic structures to the bayan’s timbral and dynamic capabilities, which differ markedly from those of historical keyboard and organ instruments.
The research methodology includes the analysis of Baroque theoretical and performance sources of the seventeenth and eighteenth centuries, examination of urtext editions, organological evaluation of the bayan’s acoustic and mechanical characteristics, and the synthesis of contemporary approaches to the adaptation of polyphonic repertoire.
The results define a set of criteria essential for stylistically accurate transcription: preservation of contrapuntal and harmonic logic; structurally justified reconfiguration of texture; selection of appropriate timbral and registral correspondences; and refinement of articulation, phrasing, and dynamic organization in accordance with Baroque performance conventions.
Scientific novelty lies in the systematization of methodological principles for adapting Baroque polyphony to the
bayan and in specifying stylistic criteria for transcriptional decisions.
Practical significance is reflected in the applicability of the proposed principles to performance, editorial, and pedagogical practice, and in the potential to expand and consolidate Baroque repertoire for the instrument.