Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277890
Yana Ivanytska
The purpose of the research is to highlight the creative achievements of Ukrainian opera singer Viktoriia Lukianets in collaboration with three prominent contemporary tenors: Luciano Pavarotti, Jose Carreras, and Placido Domingo (the latter both as a singer and conductor). Research methodology. In the course of searching and analyzing the relevant literature, historical, textual, and source research methods were used. The work continued with not only printed articles, but also with the singer’s personal archive (posters, programs, booklets, diaries, letters, autographs), and many interviews were conducted, the transcripts of which are stored in the author’s archive. All of this helped to reconstruct historical events (dates of premieres, number and type of rehearsals, time of auditions, etc.) Scientific novelty. The article is the first to describe the collaboration between the Ukrainian opera singer Viktoriia Lukianets and three of the most prominent tenors of our time in detail. The context is also thoroughly described and studied: the theatres where the singers performed, their stage colleagues, conductors, historical parallels, and perspectives. Conclusions. The historical reconstruction of outstanding events in the opera world makes it possible to realize the significance of the Ukrainian vocal school ( Viktoriia Lukianets’ teachers Ivan Palyvoda and Yelyzaveta Chavdar) in the world context, as well as the outstanding role of the Ukrainian singer who was able to conquer the best opera stages and perform with the most prominent singers of our time.
{"title":"Viktoriia Lukianets: Ascending Opera Olympus","authors":"Yana Ivanytska","doi":"10.31866/2616-7581.6.1.2023.277890","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277890","url":null,"abstract":"The purpose of the research is to highlight the creative achievements of Ukrainian opera singer Viktoriia Lukianets in collaboration with three prominent contemporary tenors: Luciano Pavarotti, Jose Carreras, and Placido Domingo (the latter both as a singer and conductor). Research methodology. In the course of searching and analyzing the relevant literature, historical, textual, and source research methods were used. The work continued with not only printed articles, but also with the singer’s personal archive (posters, programs, booklets, diaries, letters, autographs), and many interviews were conducted, the transcripts of which are stored in the author’s archive. All of this helped to reconstruct historical events (dates of premieres, number and type of rehearsals, time of auditions, etc.) Scientific novelty. The article is the first to describe the collaboration between the Ukrainian opera singer Viktoriia Lukianets and three of the most prominent tenors of our time in detail. The context is also thoroughly described and studied: the theatres where the singers performed, their stage colleagues, conductors, historical parallels, and perspectives. Conclusions. The historical reconstruction of outstanding events in the opera world makes it possible to realize the significance of the Ukrainian vocal school ( Viktoriia Lukianets’ teachers Ivan Palyvoda and Yelyzaveta Chavdar) in the world context, as well as the outstanding role of the Ukrainian singer who was able to conquer the best opera stages and perform with the most prominent singers of our time.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43276438","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277879
V. Marchenko
The purpose of the research is to analyze the use of the ready-select bayan (button accordion) flavour in the arrangements of folk songs by V. Marchenko for the collections “Wide Roots” (Issue 1 and Issue 2). Research methodology. The following general scientific methods were used: analysis (to identify the flavour possibilities of the ready-select bayan); formal-analytical (to compare technical performance and musical-expressive means); generalization (to formulate conclusions). Scientific novelty of the research. For the first time, the pieces from V. Marchenko’s collections “Wide Roots” (Issue 1 and Issue 2) are analyzed, the colouristic possibilities of the instrument are characterized, and the specific features of the ready-select bayan in the folk songs’ accompaniment are revealed. Conclusions. The research is based on the author’s own long-term artistic experience. The article highlights the peculiarities of instrumental accompaniment on a ready-select bayan and reveals the regularities of combining a folk melody and bayan accompaniment to reflect the artistic intent of the song in depth. The process of composing bayan accompaniment for pieces of folk art from different local regional traditions of Ukraine poses complex tasks for the author, and the main one is to preserve the traditional regional melodic flavour. A thoughtful approach and attention to the subtleties of the recording interpretation process, which together determine the artistic value of the works, and penetration into the essence of the song should become significant aspects of the composer’s interpretation process.
{"title":"Using the Colouristic Possibilities of the Ready-Select Bayan in the Folk Songs Accompaniment","authors":"V. Marchenko","doi":"10.31866/2616-7581.6.1.2023.277879","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277879","url":null,"abstract":"The purpose of the research is to analyze the use of the ready-select bayan (button accordion) flavour in the arrangements of folk songs by V. Marchenko for the collections “Wide Roots” (Issue 1 and Issue 2). Research methodology. The following general scientific methods were used: analysis (to identify the flavour possibilities of the ready-select bayan); formal-analytical (to compare technical performance and musical-expressive means); generalization (to formulate conclusions). Scientific novelty of the research. For the first time, the pieces from V. Marchenko’s collections “Wide Roots” (Issue 1 and Issue 2) are analyzed, the colouristic possibilities of the instrument are characterized, and the specific features of the ready-select bayan in the folk songs’ accompaniment are revealed. Conclusions. The research is based on the author’s own long-term artistic experience. The article highlights the peculiarities of instrumental accompaniment on a ready-select bayan and reveals the regularities of combining a folk melody and bayan accompaniment to reflect the artistic intent of the song in depth. The process of composing bayan accompaniment for pieces of folk art from different local regional traditions of Ukraine poses complex tasks for the author, and the main one is to preserve the traditional regional melodic flavour. A thoughtful approach and attention to the subtleties of the recording interpretation process, which together determine the artistic value of the works, and penetration into the essence of the song should become significant aspects of the composer’s interpretation process.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47715399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277887
T. Molchanova
The purpose of the article is to analyze the art of travelling musicians – the ancestors of the participants of the joint game; to substantiate the origins and reveal the socio-cultural prerequisites for the formation of this type of performance, which has its roots in ancient civilizations. For the optimal solution of the outlined tasks, the researcher used methods, among which the main ones are source and systematic. The research methodology is to analyze the performing arts of the Ancient and Middle Ages, most clearly represented by the syncretic works of ancient poets, kithara players and singers, as well as other travelling musicians who personified the singer, the poet, the accompanist, the storyteller, the dancer, the circus performer, which testifies to the emergence of elements of syncretic vocal and instrumental performance in their art. Scientific novelty of the research. For the first time in Ukrainian musicology, the origins and socio-cultural prerequisites for the development of joint performance, which has its roots in ancient civilizations, are substantiated and the art of travelling musicians of the Ancient and Middle Ages is characterized. Conclusions. The performance of the Antiquity and Middle Ages was represented mainly by the art of travelling musicians and was marked by their complicated relations with the socio-cultural environment of that time. At the same time, thanks to their art, joint music-making gradually emerged as a procedural form of vocal and instrumental performance with a huge potential for development. After all, their art formed some of the distinctive features of joint playing: mutual coherence of the performer’s intentions with sufficient individual freedom and at the same time the subordination of their playing to another performer. It was their creative work that became an important link between the first traditions of joint performance, albeit in a syncretic format, and its subsequent highly professional forms. Travelling musicians laid the foundations of musical art and it is from them that various genres of chamber vocal and instrumental performance take their roots.
{"title":"The Art of Travelling Musicians in the History of Joint Performance Establishment","authors":"T. Molchanova","doi":"10.31866/2616-7581.6.1.2023.277887","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277887","url":null,"abstract":"The purpose of the article is to analyze the art of travelling musicians – the ancestors of the participants of the joint game; to substantiate the origins and reveal the socio-cultural prerequisites for the formation of this type of performance, which has its roots in ancient civilizations. For the optimal solution of the outlined tasks, the researcher used methods, among which the main ones are source and systematic. The research methodology is to analyze the performing arts of the Ancient and Middle Ages, most clearly represented by the syncretic works of ancient poets, kithara players and singers, as well as other travelling musicians who personified the singer, the poet, the accompanist, the storyteller, the dancer, the circus performer, which testifies to the emergence of elements of syncretic vocal and instrumental performance in their art. Scientific novelty of the research. For the first time in Ukrainian musicology, the origins and socio-cultural prerequisites for the development of joint performance, which has its roots in ancient civilizations, are substantiated and the art of travelling musicians of the Ancient and Middle Ages is characterized. Conclusions. The performance of the Antiquity and Middle Ages was represented mainly by the art of travelling musicians and was marked by their complicated relations with the socio-cultural environment of that time. At the same time, thanks to their art, joint music-making gradually emerged as a procedural form of vocal and instrumental performance with a huge potential for development. After all, their art formed some of the distinctive features of joint playing: mutual coherence of the performer’s intentions with sufficient individual freedom and at the same time the subordination of their playing to another performer. It was their creative work that became an important link between the first traditions of joint performance, albeit in a syncretic format, and its subsequent highly professional forms. Travelling musicians laid the foundations of musical art and it is from them that various genres of chamber vocal and instrumental performance take their roots.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48315687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277878
I. Sinelnikov, Julia Vitraniuk
The purpose of the research is to reveal the basic principles of music material selection and ways of transforming the authentic song tradition, its interpretation and representation for the modern audience in the work of the Ukrainian ethnic band Zgarda. Research methodology. The following methods were used in the research: source study (study of works on the interpretation of musical folklore in the works of contemporary ethno-pop, rock, and jazz formations); analytical (comprehension of the types, as well as the role and place of interpretation of authentic works and their stage and musical representation in the process of preserving and retransmitting the intangible cultural heritage of the Ukrainian people); method of theoretical generalization (for formulating conclusions). The scientific novelty of the research is to highlight the peculiarities of musical and folklore material’s interpretation in the work of the ethnic group Zgarda, which is manifested, in particular, in the contamination of several authentic works into one vocal and instrumental composition with possible authorial deviations in dynamics, tempo, melodic line, etc. Conclusions. The use of traditional music in the work of many musicians is highly relevant today. Traditional music is given a new life; it is modified and resonates with young people due to its new sound and form. Having analyzed the work of the Zgarda ethnic band on musical material, we can note that there is no clear plan for processing folk songs (and creating music in general) because it is a creative process that does not follow established rules. It is essential to understand the importance of the approach to processing folklore material, and how to mix authenticity with contemporary music in a dosed and environmentally friendly way because our goal is to emphasize the beauty of folk songs, not vice versa.
{"title":"Interpretation of Musical Folklore in the Work of Ethnoband Zgarda","authors":"I. Sinelnikov, Julia Vitraniuk","doi":"10.31866/2616-7581.6.1.2023.277878","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277878","url":null,"abstract":"The purpose of the research is to reveal the basic principles of music material selection and ways of transforming the authentic song tradition, its interpretation and representation for the modern audience in the work of the Ukrainian ethnic band Zgarda. Research methodology. The following methods were used in the research: source study (study of works on the interpretation of musical folklore in the works of contemporary ethno-pop, rock, and jazz formations); analytical (comprehension of the types, as well as the role and place of interpretation of authentic works and their stage and musical representation in the process of preserving and retransmitting the intangible cultural heritage of the Ukrainian people); method of theoretical generalization (for formulating conclusions). The scientific novelty of the research is to highlight the peculiarities of musical and folklore material’s interpretation in the work of the ethnic group Zgarda, which is manifested, in particular, in the contamination of several authentic works into one vocal and instrumental composition with possible authorial deviations in dynamics, tempo, melodic line, etc. Conclusions. The use of traditional music in the work of many musicians is highly relevant today. Traditional music is given a new life; it is modified and resonates with young people due to its new sound and form. Having analyzed the work of the Zgarda ethnic band on musical material, we can note that there is no clear plan for processing folk songs (and creating music in general) because it is a creative process that does not follow established rules. It is essential to understand the importance of the approach to processing folklore material, and how to mix authenticity with contemporary music in a dosed and environmentally friendly way because our goal is to emphasize the beauty of folk songs, not vice versa.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48844030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277881
Zhanna Zakrasniana
The purpose of the research is to outline the principles and systematize the information on the formation of vocal and performance skills of academic singers in voice training classes in the context of their own experience, studying the experience of Solomiya Krushelnytska’s work with beginner singers, Alexander’s technique and Estill Voice Training. The research methodology is based on the following methods: analysis of various vocal techniques in the field of vocal art, which made it possible to study and determine the principles of forming the vocal and performance skills of an academic vocal student, as well as methods of generalization and systematization, historical and personal experience, which made it possible to outline the principles of forming skills in the academic vocal. In the course of analyzing the professional literature, the music-theoretical and source studies methods were applied. Scientific novelty of the research. Based on an in-depth study of S. Krushelnytska’s methodology, Alexander’s technique, and Estill Voice Training, the author presents her own practical experience in the context of the importance of developing vocal skills from the musicological and performing point of view. Conclusions. The study of vocal skills is based on various methods, among which we can distinguish the method of S. Krushelnytska, Alexander’s technique and Estill Voice Training. Each of these methods focuses on the development of certain aspects of vocal art and provides tools for developing various elements of vocal technique, such as the respiratory system, body posture, and vocal cords. Mastering professional knowledge and skills is a prerequisite for the further professional growth of vocal students, enabling them to develop their vocal skills, expand their repertoire, and realize their creative potential in various styles of vocal art.
{"title":"Formation of Student’s Vocal Performance Skills in the Academic Singing Class","authors":"Zhanna Zakrasniana","doi":"10.31866/2616-7581.6.1.2023.277881","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277881","url":null,"abstract":"The purpose of the research is to outline the principles and systematize the information on the formation of vocal and performance skills of academic singers in voice training classes in the context of their own experience, studying the experience of Solomiya Krushelnytska’s work with beginner singers, Alexander’s technique and Estill Voice Training. The research methodology is based on the following methods: analysis of various vocal techniques in the field of vocal art, which made it possible to study and determine the principles of forming the vocal and performance skills of an academic vocal student, as well as methods of generalization and systematization, historical and personal experience, which made it possible to outline the principles of forming skills in the academic vocal. In the course of analyzing the professional literature, the music-theoretical and source studies methods were applied. Scientific novelty of the research. Based on an in-depth study of S. Krushelnytska’s methodology, Alexander’s technique, and Estill Voice Training, the author presents her own practical experience in the context of the importance of developing vocal skills from the musicological and performing point of view. Conclusions. The study of vocal skills is based on various methods, among which we can distinguish the method of S. Krushelnytska, Alexander’s technique and Estill Voice Training. Each of these methods focuses on the development of certain aspects of vocal art and provides tools for developing various elements of vocal technique, such as the respiratory system, body posture, and vocal cords. Mastering professional knowledge and skills is a prerequisite for the further professional growth of vocal students, enabling them to develop their vocal skills, expand their repertoire, and realize their creative potential in various styles of vocal art.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47739167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277893
V. Dutchak
The purpose of the research is to determine the genre and thematic directions of the creative activity of bandura players of the Ukrainian diaspora and Ukraine in the context of the Ukrainian Free University (Munich, Germany) in the period of the 80s and 90s of the twentieth century. In particular, audio recordings from the collection of the UFU archive and reports on the activities of the educational institution from 1985-1990 were used. Research methodology. The researcher used the source, historical, axiological, musicological, and cultural approaches. The source study method was used to analyze new archival sources (textual, documentary, and audio-media) to research Ukrainian bandura art in its mainland and diaspora dimensions. Other approaches and methods made it possible to consider the areas of activity of bandura players in a foreign environment (historical and typological and historical and chronological methods), the value of their achievements for the promotion of bandura art in the world in the period of the 80s and 90s of the twentieth century (axiological approach), and to analyze the contribution of bandura players from North America, Europe, and Ukraine at the compositional, performing, and pedagogical levels to the world Ukrainian culture (musicological and culturological approaches). Scientific novelty of the research. For the first time, the materials of the audio archive of the Ukrainian Free University concerning bandura art are introduced into scientific circulation. Conclusions. The main principles and manifestations of the popularization of bandura art abroad in the 80-the 90s of the twentieth century are revealed. The personalities of soloists and groups of bandura players from the diaspora and Ukraine, lecturers and instructors of bandura training held at the Ukrainian Vulnerable University, whose creative activity was presented at public concerts in Munich, interviews and presentations on the air of Radio Svoboda, are highlighted. The article analyzes the period that marked not just the intensification of the concert and pedagogical activities of bandura players from other foreign countries but also the expansion of their cooperation with bandura players from Ukraine on the eve and at the beginning of independence. These factors remain relevant in the context of the need to generalize and analyze the achievements of bandura art abroad as a component of Ukrainian musical culture and its development in different historical and temporal periods.
{"title":"Promotion of Bandura Art Abroad at the Turn of the 1980s and 1990s","authors":"V. Dutchak","doi":"10.31866/2616-7581.6.1.2023.277893","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277893","url":null,"abstract":"The purpose of the research is to determine the genre and thematic directions of the creative activity of bandura players of the Ukrainian diaspora and Ukraine in the context of the Ukrainian Free University (Munich, Germany) in the period of the 80s and 90s of the twentieth century. In particular, audio recordings from the collection of the UFU archive and reports on the activities of the educational institution from 1985-1990 were used. Research methodology. The researcher used the source, historical, axiological, musicological, and cultural approaches. The source study method was used to analyze new archival sources (textual, documentary, and audio-media) to research Ukrainian bandura art in its mainland and diaspora dimensions. Other approaches and methods made it possible to consider the areas of activity of bandura players in a foreign environment (historical and typological and historical and chronological methods), the value of their achievements for the promotion of bandura art in the world in the period of the 80s and 90s of the twentieth century (axiological approach), and to analyze the contribution of bandura players from North America, Europe, and Ukraine at the compositional, performing, and pedagogical levels to the world Ukrainian culture (musicological and culturological approaches). Scientific novelty of the research. For the first time, the materials of the audio archive of the Ukrainian Free University concerning bandura art are introduced into scientific circulation. Conclusions. The main principles and manifestations of the popularization of bandura art abroad in the 80-the 90s of the twentieth century are revealed. The personalities of soloists and groups of bandura players from the diaspora and Ukraine, lecturers and instructors of bandura training held at the Ukrainian Vulnerable University, whose creative activity was presented at public concerts in Munich, interviews and presentations on the air of Radio Svoboda, are highlighted. The article analyzes the period that marked not just the intensification of the concert and pedagogical activities of bandura players from other foreign countries but also the expansion of their cooperation with bandura players from Ukraine on the eve and at the beginning of independence. These factors remain relevant in the context of the need to generalize and analyze the achievements of bandura art abroad as a component of Ukrainian musical culture and its development in different historical and temporal periods.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43799527","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277884
Raisa Tsapun, V. Sinelnikova
The purpose of the article is to highlight the Ukrainian New Year’s Carnival rite Malanka, which is best preserved today in the Carpathian region, primarily in the Bukovyna and Galician parts of the Hutsulshchyna region; to characterize the main elements of the ritual performance and to reconstruct it using ethnographic sources collected by students of the Folklore Department of the Rivne State Institute of Culture (now Rivne State University of the Humanities) in the 1980s and 1990s. Research methodology. In the process of searching and analyzing the relevant literature, music-theoretical and source studies methods were used. In the process of collecting folklore and ethnographic material on the state of the Malanka traditions’ preservation, field methods were used, including interviews, observation, etc. with further primary processing of materials in the conditions of a field folklore expedition, decoding (transcribing), archiving of materials and direct rehearsal and stage performance reconstruction. The comparative and analytical method was used to substantiate the conclusions. Scientific novelty of the research. The article reveals the role and significance of the New Year’s Carnival rite Malanka and its influence on the formation of spiritual culture in the student community. Conclusions. In the Ukrainian traditional culture, such a New Year’s Carnival rite as Malanka makes it possible to realize the unity of man and nature. This holiday, in its essence, reflects the worldview of Ukrainians and emphasizes their identity and originality among other Slavic peoples. In the past, it served as a censor of moral norms, actions and behaviour of peasant community members. Unfortunately, the object under study has already passed into the phenomena of entertaining staged carnival and mask culture and has lost its deep semantics. That is why it is so important to reconstruct this example of the spiritual culture of the ancient Slavs in order not to break the connection between the culture of ancient ancestors and the present.
{"title":"Reconstruction of Traditional New Year's Rites in the Work of Student Folklore Group","authors":"Raisa Tsapun, V. Sinelnikova","doi":"10.31866/2616-7581.6.1.2023.277884","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277884","url":null,"abstract":"The purpose of the article is to highlight the Ukrainian New Year’s Carnival rite Malanka, which is best preserved today in the Carpathian region, primarily in the Bukovyna and Galician parts of the Hutsulshchyna region; to characterize the main elements of the ritual performance and to reconstruct it using ethnographic sources collected by students of the Folklore Department of the Rivne State Institute of Culture (now Rivne State University of the Humanities) in the 1980s and 1990s. Research methodology. In the process of searching and analyzing the relevant literature, music-theoretical and source studies methods were used. In the process of collecting folklore and ethnographic material on the state of the Malanka traditions’ preservation, field methods were used, including interviews, observation, etc. with further primary processing of materials in the conditions of a field folklore expedition, decoding (transcribing), archiving of materials and direct rehearsal and stage performance reconstruction. The comparative and analytical method was used to substantiate the conclusions. Scientific novelty of the research. The article reveals the role and significance of the New Year’s Carnival rite Malanka and its influence on the formation of spiritual culture in the student community. Conclusions. In the Ukrainian traditional culture, such a New Year’s Carnival rite as Malanka makes it possible to realize the unity of man and nature. This holiday, in its essence, reflects the worldview of Ukrainians and emphasizes their identity and originality among other Slavic peoples. In the past, it served as a censor of moral norms, actions and behaviour of peasant community members. Unfortunately, the object under study has already passed into the phenomena of entertaining staged carnival and mask culture and has lost its deep semantics. That is why it is so important to reconstruct this example of the spiritual culture of the ancient Slavs in order not to break the connection between the culture of ancient ancestors and the present.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48010540","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277877
H. Karas
The purpose of the research is to comprehend the work of the first Ukrainian scholars in the field of musicology in the context of international musical relations of Ukrainian musical culture. The article examines the musicology dissertations of Stefaniia Turkevych and Zynovii Lysko as a factor in the affirmation of national and cultural identity. The main emphasis is made on the musicological and cultural analysis of these dissertations. Research methodology. The article uses historical, axiological, and cultural approaches and their corresponding methods. In particular, the historical and chronological method was used to consider the issues of dissertations covering a significant period (nineteenth – early twentieth centuries) and spatial dimension (Ukraine, Russia, Galicia, Czechoslovakia), the axiological method – to determine the value of the achievements of Ukrainian musicologists, the comparative method – to compare the issues of dissertations, and the cultural method – to present the contribution of musical culture figures to the world and Ukrainian treasury. The scientific novelty of the research is the introduction of systematized information and archival materials about the first musicological studies of Ukrainians abroad. Conclusions. Both dissertations by S. Turkevych and Z. Lysko were not only innovative at the time, but have not lost their relevance today when the issues of national and cultural identities are again becoming acute at the beginning of the twenty-first century when Ukraine is defending its freedom and independence in the fight against the Russian enemy.
{"title":"Musicology Dissertations by Stefaniia Turkevych and Zynovii Lysko as a Factor in National and Cultural Identity Establishment","authors":"H. Karas","doi":"10.31866/2616-7581.6.1.2023.277877","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277877","url":null,"abstract":"The purpose of the research is to comprehend the work of the first Ukrainian scholars in the field of musicology in the context of international musical relations of Ukrainian musical culture. The article examines the musicology dissertations of Stefaniia Turkevych and Zynovii Lysko as a factor in the affirmation of national and cultural identity. The main emphasis is made on the musicological and cultural analysis of these dissertations. Research methodology. The article uses historical, axiological, and cultural approaches and their corresponding methods. In particular, the historical and chronological method was used to consider the issues of dissertations covering a significant period (nineteenth – early twentieth centuries) and spatial dimension (Ukraine, Russia, Galicia, Czechoslovakia), the axiological method – to determine the value of the achievements of Ukrainian musicologists, the comparative method – to compare the issues of dissertations, and the cultural method – to present the contribution of musical culture figures to the world and Ukrainian treasury. The scientific novelty of the research is the introduction of systematized information and archival materials about the first musicological studies of Ukrainians abroad. Conclusions. Both dissertations by S. Turkevych and Z. Lysko were not only innovative at the time, but have not lost their relevance today when the issues of national and cultural identities are again becoming acute at the beginning of the twenty-first century when Ukraine is defending its freedom and independence in the fight against the Russian enemy.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47563937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-28DOI: 10.31866/2616-7581.6.1.2023.277888
O. Kravchuk
The purpose of the research is to analyze the application of artificial intelligence in Ukraine in the music field and to outline its technologies’ impact on the domestic music industry. The research methodology is based on the use of empirical, experimental, theoretical and theoretical research methods, which made it possible to study the phenomenon of artificial intelligence application in the modern domestic music industry, systematize the available knowledge and facts on the issue, draw conclusions and theoretically summarize the impact of artificial intelligence on the development of music in Ukraine. The scientific novelty of the research lies in the fact that for the first time in the cultural and musicological scientific space, the points of the application of artificial intelligence technologies in the music industry of Ukraine are analyzed, aspects of the popularity of individual resources, practical application and their impact on product popularization are highlighted. Conclusions. The use of artificial intelligence technologies in the Ukrainian music industry has not yet gained mass recognition, which is officially recorded in several facts, including the creation of a music product and the production of a video for a music video. The issue of legal regulation of the involvement of artificial intelligence in the development of a music product and the definition of intellectual property rights remains open. The author has outlined the main areas of artificial intelligence technologies’ usage in applications related to the music industry. The role of artificial intelligence in the popularity of a music product is analyzed.
{"title":"Application of Artificial Intelligence in the Music Industry of Ukraine: an Analytical Approach","authors":"O. Kravchuk","doi":"10.31866/2616-7581.6.1.2023.277888","DOIUrl":"https://doi.org/10.31866/2616-7581.6.1.2023.277888","url":null,"abstract":"The purpose of the research is to analyze the application of artificial intelligence in Ukraine in the music field and to outline its technologies’ impact on the domestic music industry. The research methodology is based on the use of empirical, experimental, theoretical and theoretical research methods, which made it possible to study the phenomenon of artificial intelligence application in the modern domestic music industry, systematize the available knowledge and facts on the issue, draw conclusions and theoretically summarize the impact of artificial intelligence on the development of music in Ukraine. The scientific novelty of the research lies in the fact that for the first time in the cultural and musicological scientific space, the points of the application of artificial intelligence technologies in the music industry of Ukraine are analyzed, aspects of the popularity of individual resources, practical application and their impact on product popularization are highlighted. Conclusions. The use of artificial intelligence technologies in the Ukrainian music industry has not yet gained mass recognition, which is officially recorded in several facts, including the creation of a music product and the production of a video for a music video. The issue of legal regulation of the involvement of artificial intelligence in the development of a music product and the definition of intellectual property rights remains open. The author has outlined the main areas of artificial intelligence technologies’ usage in applications related to the music industry. The role of artificial intelligence in the popularity of a music product is analyzed.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44442766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-22DOI: 10.31866/2616-7581.5.2.2022.269678
Svitlana Huralna
The purpose of the research is to highlight the prerequisites and conditions for the development of organ and singing performances of Roman Catholics in Galicia at the intersection of the nineteenth and twentieth centuries, which influenced the current state of church music development. Research methodology. Based on the principles of objectivity and impartiality, the prerequisites for the development of Roman Catholic music in Galicia since the nineteenth century are considered. The comparative-historical method is used to draw chronological parallels of introducing the Roman Catholic rite to Ukrainian and Polish lands. The structural-functional method was used in the consideration of the process of liturgical performance traditions’ renewal of Roman Catholic music, which began in the nineteenth century and appeared in Galicia due to close interaction with the countries of Western Europe. The influence of the Caecilian and Bernardine movements on sacred art is noted. The historical and retrospective method was used to recreate the historical and social problems of the development of spiritual art in the 19th-20th century. The local and Western European resolutions of the 20th century and several official documents that influenced the renewal of church performance were emphasized. The socio-cultural method was used to indicate the influence of organ schools of the leading musical and educational centers in Lviv, Krakow, Tarnow, and Przemyśl on the improvement of the professional competence of performers. The cultural method was used to cover several artistic and spiritual events with the participation of secular and spiritual groups, thanks to which previously unknown composers have been introduced into scientific circulation. The scientific novelty of the research is that the article highlights the historical and cultural poly-confessional specifics of different ethnic groups' coexistence in the little-studied Galicia. The state of liturgical practice in the Roman Catholic rite is presented, the reasons for the emergence of the Caecilian movement in Europe and its influence on Roman Catholic church singing traditions in Galicia are illuminated, and the importance of official documents of the RCC is emphasized. Some vocal and choral educational institutions and schools for organists in Lviv, Krakow, Przemyśl, and Tarnów were mentioned. Attention is drawn to the intensification of the organization of musical life in the region and the emergence of publishing houses that contributed to the rapid reform of Roman Catholic liturgical performance since the nineteenth century. Conclusions. As a result, it was noted that the church music of the Roman Catholic rite of Galicia in the twentieth century underwent significant updates, returning to Gregorian chant and the canons of polyphonic liturgical music, and the improvement of the level of organ and singing performance led to the study of relevant subjects in modern universities.
{"title":"Restoration of the Roman Catholic Church Music Traditions of Galicia (From the Nineteenth Century)","authors":"Svitlana Huralna","doi":"10.31866/2616-7581.5.2.2022.269678","DOIUrl":"https://doi.org/10.31866/2616-7581.5.2.2022.269678","url":null,"abstract":"The purpose of the research is to highlight the prerequisites and conditions for the development of organ and singing performances of Roman Catholics in Galicia at the intersection of the nineteenth and twentieth centuries, which influenced the current state of church music development. Research methodology. Based on the principles of objectivity and impartiality, the prerequisites for the development of Roman Catholic music in Galicia since the nineteenth century are considered. The comparative-historical method is used to draw chronological parallels of introducing the Roman Catholic rite to Ukrainian and Polish lands. The structural-functional method was used in the consideration of the process of liturgical performance traditions’ renewal of Roman Catholic music, which began in the nineteenth century and appeared in Galicia due to close interaction with the countries of Western Europe. The influence of the Caecilian and Bernardine movements on sacred art is noted. The historical and retrospective method was used to recreate the historical and social problems of the development of spiritual art in the 19th-20th century. The local and Western European resolutions of the 20th century and several official documents that influenced the renewal of church performance were emphasized. The socio-cultural method was used to indicate the influence of organ schools of the leading musical and educational centers in Lviv, Krakow, Tarnow, and Przemyśl on the improvement of the professional competence of performers. The cultural method was used to cover several artistic and spiritual events with the participation of secular and spiritual groups, thanks to which previously unknown composers have been introduced into scientific circulation. The scientific novelty of the research is that the article highlights the historical and cultural poly-confessional specifics of different ethnic groups' coexistence in the little-studied Galicia. The state of liturgical practice in the Roman Catholic rite is presented, the reasons for the emergence of the Caecilian movement in Europe and its influence on Roman Catholic church singing traditions in Galicia are illuminated, and the importance of official documents of the RCC is emphasized. Some vocal and choral educational institutions and schools for organists in Lviv, Krakow, Przemyśl, and Tarnów were mentioned. Attention is drawn to the intensification of the organization of musical life in the region and the emergence of publishing houses that contributed to the rapid reform of Roman Catholic liturgical performance since the nineteenth century. Conclusions. As a result, it was noted that the church music of the Roman Catholic rite of Galicia in the twentieth century underwent significant updates, returning to Gregorian chant and the canons of polyphonic liturgical music, and the improvement of the level of organ and singing performance led to the study of relevant subjects in modern universities.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48329110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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