Journal articles: 'Musical culture of the Cossacks'

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Mikhailova, Alevtina Anatol'evna. "Preservation of the traditional culture of the Cossacks in the scientific and creative priorities of the Department of Folk Singing and Ethnomusicology of the Saratov State Conservatory named after L. V. Sobinov." PHILHARMONICA. International Music Journal, no. 6 (June 2023): 10–22. http://dx.doi.org/10.7256/2453-613x.2023.6.69395.

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The article is devoted to the 55-year activity of the Department of Folk Singing and Ethnomusicology of the Saratov State Conservatory named after L. V. Sobinov. The focus is on one of the directions in the scientific and creative priorities of the department – the study and preservation of the traditional song heritage in the culture of the Cossacks. The author gives an excursion into the history of the study of musical folklore and the creation of a new specialty "head of a folk choir" at an academic university. The article highlights the role of prominent figures-folklorists associated with the study of the Cossack song tradition and the formation of the science of ethnomusicology at the Saratov State Conservatory – A.M. Listopadov, L.L. Christiansen, A.S. Yareshko. The article summarizes some results of the research, publishing, concert, creative and educational work of teachers and students of the Department of folklore research of the Cossack regions of Russia. The author also refers to the archive of audio recordings and theses with song notations in order to identify the earliest recordings of folklore expeditions to the Cossack regions of the Saratov Volga region, analyzing the musical, poetic and performing style of song folklore. When writing this article, the following art criticism methods were used – comparative historical (comparative) and musical-analytical research methods. Despite the fact that the Cossack song tradition has not been revealed in the territory of the modern Saratov Volga region in the form of a formed musical and ethnographic phenomenon, there are persistent stable indigenous signs characteristic of the Cossack song culture in local manifestations: both a set of song genres and characteristic musical-poetic and vocal-performing features of the Don Cossacks singing style: specific features of folk speech, diphthongs, word breaks, "entrances"-glissandings from below to the main sound, a special phonetic structure of vocal speech. Similar genre, musical style and performance features of the song folklore of the Cossack tradition in the recordings of the 70s and 80s of the twentieth century are found locally as residual phenomena. Later archival records in this region demonstrate the all-Russian late urban tradition. There are many reasons for this: both the influence of mass pop culture and the result of the lack of social ties between generations of different ages, continuity within the family, within singing groups and the "blurring" of the indigenous population by immigrants from different regions.

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Mironova, Anastasiya Vladimirovna. "The continuity of the vocal and performing heritage of the multi-genre song culture of the Kuban Cossacks." Философия и культура, no. 2 (February 2024): 1–13. http://dx.doi.org/10.7256/2454-0757.2024.2.69872.

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The object of the study is the continuous preservation of the multi-genre Cossack folk song, which represents a key purpose in the implementation of the preservation of the traditional mentality at the present stage. The subject of this work is the immanent complexes of traditional song culture in the folklore heritage. The purpose of this study is to structure the issue of the cultural interrelation of the ethnic canvas of the Kuban Cossack folk songs, in the originality of the genesis of the vocal and performing specifics of modern creativity. When discovering the fundamental foundations of the vocal performance of the Cossack song, special attention is paid to the study of the folklore primary sources of the Kuban folklorists, V.G.Zakharchenko, A.D.Bigdai, G.M.Kontsevich. Along with this, an expert assessment of the characteristics of the Kuban Cossack folk song according to the genre classification component is an important feature of the performance of vocal samples today. The theoretical basis is in an analytical approach to the peculiarities of the performance of a local source from the point of view of substantiating the scientific nature of the subject under consideration according to the functionally oriented elements of the report: traditions, traditional manner of performance, interpretation of the text, song melody. Methodological basis: components of the study of the local singing tradition, modernization of folklore song documents, the method of consistency-the genre diversity of Cossack performance. The author's approach to the correlation of musical sources as methodological characteristics of the Kuban Cossack singing traditions has been developed. We test the proposed system when working with archival documents, in the diagnosis of song samples recorded from informants. The key aspect is the musicological analysis of the musical collections of Kuban Cossack folk songs from the point of view of the continuously developing, multifaceted changing performing skills of the soloist and choir. The author takes into account the introduced model of performing Cossack songs since the resettlement of the Black Sea Cossacks, who brought the baggage of multi-genre sources and eventually introduced the Kuban folk singing art. The scientific novelty of the research lies in the author's analytical systematization of authentic song compositions recorded by folklorists, in the analysis of multi-genre Kuban Cossack sources (selectively) for further active performance on stage. The specific directions of performance according to characteristic song genres are determined: historical, military, everyday, marching, lyrical, wedding, ceremonial, round dance, comic. The reproduced orientation of the nature of the continuous preservation of folklore sources in the revised performance interpretation of Cossack vocal works gives rise to significant broadcasting opportunities today.

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Rudichenko, Tatyana. "Art in the Process of Integrating the Don Host to the Russian State." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 4 (September 2019): 215–23. http://dx.doi.org/10.15688/jvolsu4.2019.4.18.

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Introduction. Studying culture and art in the formation of the Cossacks, designing its estate status is carried out in the perspective of current ideas about cultural policy contributing to more complete systemic reconstruction of the process. The novelty consists in showing the interaction of artistic and traditional household culture, the transformation of the latter. The purpose and objectives were analyzing the role of art in integrating the Cossacks into the Russian state, identifying the direction of changes in the culture; historical periodization of perception and adaptation of new art forms; establishing the specificity of the selected periods and the results achieved. Methods and materials. Research methods include the historical one, which allows considering changes in culture based on facts of social history, and cultural one, which gives approaches to studying regulation of the integration process in accordance with the principles of cultural policy. The source base consists of published official documents (letters, laws, decrees) containing reliable information, and art criticism, historical and ethnographic literature, which describes specific phenomena of culture and art. Analysis. The supreme power used effective and relevant for a particular historical period institutions and resources: religion and church (17th c.); service in the army and military education system (18th c.); reforming of social organization (incorporation into the estate structure of the state) and the control system of the Army (separation of the military and civilian system of administration) (19th c.). Results. By creating infrastructure, developing church and secular education, the government promoted systemic renewal of culture and Cossacks’ digestion of its forms that were perceived in Russia and Europe as close, identical and related (architecture, painting, choral singing and orchestra music, drama and musical theater). At the early stage of integration into the Russian state, contact forms and democratic nature of the cultural interaction process prevailed. Cultural expansion of the 18th – 19th centuries had a systemic nature and was determined by purposeful influence of the institutions (church, army, school and social elite) that contributed to renewal of culture according to the Western European model.

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Denkovych, Vasyl. "REPRESENTATION AND SYMBOLISM OF FOLK MUSICAL INSTRUMENTS IN CONTEMPORARY UKRAINIAN NATIONAL CULTURE." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 84–87. http://dx.doi.org/10.17721/ucs.2023.1(12).18.

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The article examines the issue of representation of Ukrainian folk instruments. The symbolic meaning of folk instruments is revealed, the connotations that demonstrate their deep implementation in the practice of creating national culture are highlighted. Such instruments as kobza, bandura, pipe, bugai, trembita are associated with the formation of the ethnic folk complex, which demonstrates the ability to be reincarnated in modern artistic practices. During their existence, they underwent changes in design, gained use in various musical stylistic directions. At the same time, they retained their significance as symbols of Ukrainian culture, independence and national pride. Unique musical instruments-symbols that have signs of belonging to Ukrainian culture and play an important role in the artistic space of today are considered. Their circulation in culture can be considered as a component of the integration of the nation and the connection of traditions and innovations. The analysis of Ukrainian folk instruments reveals their implementation in modern cultural genesis. Various musical instruments were a part of the life of our ancestors, performing various functions – from purely entertaining to communicative and warning. Currently, one can see the process of reviving interest in traditional musical instruments, which is accompanied by the transformation of the practices of their use. At the same time, the appeal to them acts as a factor of referring to the field of symbolic meanings, which these instruments embody, because of their traditional use. The timpani were a military signaling instrument and are currently perceived as a symbol of military life, the thirst for victory. Bandura and kobza, which were a symbol of the Cossacks, came to personify the fight against aggression. The bagpipe and trembita, which were the instruments of shepherds, have become members of modern bands in various stylistic directions, but their importance as carriers of the ethnic culture of Ukrainians is constant. A wider range of imagery and a symbol of national uniqueness are carried by instruments such as trembita and bugai. All of them represent the cultural heritage of Ukraine, demonstrating the ability to integrate and reproduce the nation

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Hnatiuk, Larysa. "Mykola Grinchenko as a Musicologist-Folklorist (Based on Published Works)." Problems of music ethnology 17 (November 17, 2022): 27–32. http://dx.doi.org/10.31318/2522-4212.2022.17.270898.

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The goal of the article is to characterize Mykola Hrinchenko as a historian of Ukrainian music, a researcher of the folk music; to analyze his “History of Ukrainian Music” (1922) and to identify the place of folklore related problems in it. The activity of M. Hrinchenko as a teacher, scientist, musical and public figure is characterized, its importance in the development of musical folkloristics is highlighted. An overview of the works of the early period of the scientist's creative life has been carried out, the formation of M. Hrinchenko's views on Ukrainian folk art has been traced. Characterizing the creativity of Ukrainian composers (M. Lysenko, K. Stetsenko, P. Kozytskyi), M. Hrinchenko focuses primarily on those achievements related to folklore sources. The scientist considers its genetic connection with the native culture to be a sign of the artistic value of a musical piece. The goal of Ukrainian music, according to M. Hrinchenko, is to reach the heights of world musical art and at the same time preserve its national roots. The “History of Ukrainian Music” (Kyiv, 1922) has been analyzed and the importance of folk art as a mandatory component of music-historical work is outlined. The author's statement about the fundamental importance of musical folklore for the development of Ukrainian culture, which is unique and different from all other cultures of the world, is defined as the conceptual basis of the monograph. It is proven that M. Hrinchenko initiated certain traditions with his monograph, which are still followed by almost all authors of studies on the history of Ukrainian music. In particular, the presence of a section devoted to the history of folk musical art is mandatory. The periodization of the history of Ukrainian folk art from ancient times to the time of the creation of the book is considered: pre-Christian era, Christian (pre-Cossack), Cossack era, modern period. M. Hrinchenko sees Ukrainian musical culture as a component of the European one. The impact of his ideas on the development of Ukrainian historical musicology and folkloristics in subsequent periods is indicated.

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Taylor, Richard. "Singing on the Steppes for Stalin: Ivan Pyr'ev and the Kolkhoz Musical in Soviet Cinema." Slavic Review 58, no. 1 (1999): 143–59. http://dx.doi.org/10.2307/2672993.

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In his celebrated "secret speech" to the delegates to the Twentieth Party Congress in February 1956, Nikita Khrushchev singled out Soviet filmmakers for their part in establishing and maintaining Stalin's personality cult. Although not specifically mentioned by Khrushchev, one film has been generally identified as a prime example of the way in which those filmmakers "varnished the reality," particularly of the Soviet countryside during the Stalin period: Ivan Pyr'ev's Kubanskie kazaki (The Kuban cossacks) made in the film-famine year of 1949 and released in February 1950. But let us look at what Khrushchev actually said.

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Kelmendi, Arsim. "Sound identity as a phenomenon. Research on the cultural significance of music in ethnic and subcultural communities." Interdisciplinary Cultural and Humanities Review 3, no. 2 (2024): 16–23. https://doi.org/10.59214/cultural/2.2024.16.

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The topicality of the issue of developing and reflecting the identity of various ethnic and subcultural groups by music is conditioned by the importance of preserving the unique heritage of the world for subsequent generations. The purpose of the study was to highlight the means by which music reflects the original code of communities, and the mechanisms for its modernisation. To achieve this goal, the study analyses the means of reflecting and renewing ethnic and subcultural identity; compares and synthesises them in the context of 21st century artistic practice. The results of investigating the topic indicate that the music of different ethnic groups and subcultures concentrates their identity and is open to modernisation due to the presence of such factors as: tools, timbre, texture, style of interpretation, genre, compositional form of works; relationship with global society; integration into the sphere of information and communication technologies; dialogue between different ethnic groups and subcultures; synthesis of their own unique features and characteristic features of other communities. The renewal of the music of one of the ethnic groups of China (Yunnan) took place through the synthesis of its traditional and European tonal and functional, genre and structural, and timbre systems. Aspects of modernisation of the musical traditions of the Azerbaijani ethnic group (mugham) are the transformation of texture through linear polyphony and complex chords, timbre renewal through the use of symphony orchestra instruments. The enrichment of the folklore of the local culture of the Cossacks of Ukraine was implemented through the timbre sphere, where, in addition to male voices, musical instruments of various types and texture sound, through a polyphonic choir and orchestra, structural and compositional, in the context of which the song turns into a vocal and symphonic miniature. The music of church communities in Europe, in particular, Great Britain, and the United States of America, on the example of the world-famous song “Amazing Grace”, has passed the path of its renewal through interaction with the style of jazz and its varieties of later times, achievements of academic, pop music, the main elements of which are a certain style of vocals, its accompaniment by a number of acoustic, electronic instruments and chords of a complicated system of the 20th and 21st centuries

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Smyrnova, Tetyana. "MUSIC AND CHOIR EDUCATION IN UKRAINE XVI–XVIII СЕNTURIES". Academic Notes Series Pedagogical Science 1, № 195 (2021): 28–32. http://dx.doi.org/10.36550/2415-7988-2021-1-195-28-32.

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The article analyzes the development of music and choral education during the Slavic Renaissance and Ukrainian Baroque. The special significance of the ideas of spirituality and the revival of Ukrainian-Slavic values of religious and folk singing is revealed in view of the absence of statehood, the decline of Orthodox musical traditions. The significance of the reformist ideas of «purification of the church» and the culture of the Enlightenment is highlighted. Positive results of the development of music and choral education on the basis of Renaissance-Baroque (Cossack) Ukrainian culture were revealed. The value of Cossack-kobzar music and choral education, regional music and choral schools, the phenomenon of Kyiv-Mohyla Academy is emphasized. The analysis of scientific sources testifies to the intensive development of music and choral education in Ukraine during the sixteenth and eighteenth centuries, which took place in difficult conditions of the liberation struggle of Ukrainians for national culture, spirituality and consciousness. The achievements of the national music and choral education of the Slavic Renaissance include the preservation of ideas and traditions of the post-Byzantine Balkan-Slavic culture of Orthodox singing (monasteries, parish schools); appeal to Roman Catholic music and choral education (Jesuit, Latin, Protestant, Uniate secondary and higher institutions); a bright revival of humanistic and educational slogans, traditions of national music and choral education, which took place taking into account European achievements (Ostroh Academy, fraternal schools). Musical and choral education of the Hetmanate (Ukrainian Baroque), despite the gradual destruction of statehood, was marked by the revival of Ukrainian culture of the Renaissance-Baroque (Cossack) type. Centers of kobzar-Cossack music and choral education and culture, regional singing schools, spiritual and singing Orthodox culture flourished (Kyiv-Mohyla Academy, monastic, hierarchical, secular city centers) flourished. Ukrainian music and choral education was glorified by the geniuses of the Ukrainian people M. Diletsky, D. Rostovsky, D. Bortnyansky, M. Berezovsky, A. Wedel, G. Skovoroda. The prospects for further research include a systematic analysis of trends in music and choral education in Ukraine in the populist period.

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Kazantseva, Tatyana G. "TOBOLSK IRMOLOGION OF SAINTED PHILOTHEUS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 42 (2021): 181–94. http://dx.doi.org/10.17223/22220836/42/15.

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The object of research in this article is the chant manuscript of a five-line notation kept in the funds of the State Archive in Tobolsk (No. 306). The significance of this musical monument for the culture of Siberia is determined by its belonging to the fifth metropolitan of Siberia and Tobolsk Philotheus (Schemamonk Feodor), the first Ukrainian scholar monk at the Siberian cathedra. About belonging of the manuscript to sainted Philotheus is testifies owner's record of his pupil Peter Tungus. Sainted Philotheus played an important role not only in the education of indigenous peoples, but also in the emergence of a new European type culture in Siberia. He initiated the construction of the first stone cathedral in Siberia in the name of the Holy Trinity in the monastery of the same name and founded of the bishop's school (later seminary), the religious theater. Metropolitan Philotheus paid much attention to the issues of church singing. Thus, in the bishop's school singing “according to the note” was taught, the lord himself organized the church and metropolitan choruses from the “written out” Kiev monks and exiled Cossacks, and taught literacy and singing, including of newly baptized Siberians. Given the period (the beginning of the XVIII century) and the ancestry of Metropolitan Philotheus, cultivated by him the church-singing culture in the Siberian metropolia was under considerable influence of the South-West Russian Baroque. The manuscript being analyzed is a monument of this tradition. According to the complex of paleographic signs, the manuscript dates back to the early 1660s. and, perhaps, was created by scribes of the Kiev-Pechersk Lavra, from where Philotheus was erected to the Siberian Metropolitan Сathedra. The singing book is written in four handwritings, representing the South-West Russian semi-uncial with elements of cursive writing and a lot of outline letter, some words are given under the titles, greekized and latinized variants of capital letters are actively used. The edit of the text is pre-reform, elements of razdelnorechyie are preserved. The composition and content of the book refers to the most common from the second half of the XVII century “Oktoih” type of the Ukrainian-Belarusian Irmologion. It consists of seven parts: 1) (main) chants of the Sunday service and the irmos of the canons; 2) automelon (αυτόμελον) (samples for chanting stichera, troparia and sedalen (Κάθισμα)); 3) Irmos and other hymns to the Compline of Feasts of the Nativity of Christ and the Epiphany; 4) a fragment of the Obikhod of Quadragesima; 5) selected holidays of the Minei stikheres-book; 6) a fragment of the Obikhod of the all-night vigil of the Kiev chant; 7) full-text canons in the Palm Sunday and Easter. Thus, the structure of the Irmolion differs from the Moscow singing books of both the Old Russian and the post-reform traditions, and some differences in the repertoire of the chants are noted. The musical material of the manuscript belongs to the Kiev “izvod” (derivation) of the znamenny chant. In conclusion, it is noted that the Tobolsk manuscript is a typical Ukrainian-Belarusian Irmologion, but for the Siberian region it is undoubtedly unique. Tobolsk Irmologion together with later manuscripts in various Siberian storages form the foundation for the statement of a large-scale problem of the influence of South-West Russian Baroque on the development of the musical culture of Siberia.

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Sukhomlinova, T. P. "Choral creativity by Hanna Havrylets as a symbol of the togetherness of Ukraine (on the example of the musical and stage action “We will sow the Golden Stone”)." Aspects of Historical Musicology 17, no. 17 (2019): 44–59. http://dx.doi.org/10.34064/khnum2-17.03.

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In recent years, there has been an increasing interest in Ukrainian choral music of the modern generation of composers. Hanna Havrylets’ choral works are topical for performers and scholars. The musical and stage performance “We will sow the Golden Stone” is an example of embodiment the idea of united Ukraine, which was preserving its actuality during the all history of the country. Hanna Havrylets is an artistic figure, whose creative work unites Western and Eastern Ukraine. She was born in Galicia, studied and worked in the capital city. Her music reached Eastern Ukraine, where the artist’s choral works are performed by almost every choir group and where they have become the favorite among performers and listeners. Concerning choirs of Kharkiv region, we should mention the Chamber Choir named after Viacheslav Palkin of Kharkiv Regional Philharmonic Society, the Opera Studio Choir and the Student Choir of Kharkiv National University of Arts named after Ivan Petrovych Kotliarevsky, the Student Choir of Kharkiv State Academy of Culture. Research aims and methods. We tried to identify Hanna Havrylets’ choral works’ characteristic features, which are a symbol of the nation’s unity in the contemporary Ukrainian musical space, as well as some religious, philosophical and traditional folk features of the national identity, which perform the unifying function in the Ukrainian musical art. Research results. The features of H. Havrylets’ works that connect the cultural poles became a religious orientation (appeal to the Orthodox tradition), reliance on folklore and national historical and cultural traditions, which, combined with professional skills and composer talent, allowed her to create unique creative projects. One of such projects is the musical stage performance “We will sow the Golden Stone” (1997). The work was created for the People’s Artist of Ukraine Nina Matviyenko (soloist), a choir of boys and a symphony orchestra, the author of the poems is Sofiya Maidanska. Its uniqueness is in the fact that it combines almost all the genres of Ukrainian folk music in one piece united by the only idea of covering all the milestones of Ukrainian history starting from the World Creation and up to the present days. The artistic method of synthesizing musical and stage performance has a multi-level manifestation. Synthesis of art types (music, fine arts, choreography and theater) is supplemented with synthesis of styles, genres, and contents. H. Havrylets skillfully combines peculiarities of artistic thinking, characteristic of Ukrainian folklore, with contemporary composer vision; also the folkloric manner of singing – with the academic. Having considered the musical and stage performance “We will sow the Golden Stone” by H. Havrylets, we found common for Ukrainian culture and art features, which support the idea of unity and collegiality of Ukraine. These common religious, folkloric, philosophical features constitute a single spiritual system of the national culture. Due to her composer talent, H. Havrylets created a complete picture of author’s vision of united Ukraine, embodied in her work all major milestones of the country’s history (from the ancient times and up to the present days), traditions and beliefs of the Ukrainian people (religious and everyday ones), their identity by including regional features into a single system of the Ukrainian nation’s values in the past and the present. An analysis of the work by H. Havrylets gives reason to believe that the composition of the work is carried out on the principle of “unity and diversity”, the use of which contributes to a more vivid expression of its main idea. The unique, original features of the different eras of the history of Ukraine, its geographical regions, the art of its outstanding creators (composers, poets and performers) are combined into a single “portrait” of the Ukrainian nation, in a common image of its mentality and culture. Summary. Thus, in the process of analyzing the musical stage performance “We will sow the Golden Stone” the religious, folklore, and worldview signs of national identity were revealed, bearing the idea of the collegiality of the Ukrainian people. Religious signs include reproduction by the composer of Pagan tradition, coverage of the Pagan era, for which ritual folklore of the ancient Slavs was used; subsequently – and Orthodox symbolism, in praising the original Christianity and the Cossacks as the defender of their native land, thanks to the appeal to the genres “koliadka”, “szhedrivka” (traditional songs usually sung on Christmas holidays), historical songs, works of authors known throughout Ukraine. The folklore signs of the national identity of the work embodying the idea of the collegiality of Ukraine include the use of folklore primary sources collected in different parts of Ukraine by Nina Matviyenko, as well as the coverage of all genres of Ukrainian folklore reflected the foundations of the worldview and everyday life of the people of all regions of the country. An expression of the ideological foundations of national identity and unity became the composer’ coverage of milestones in the history of Ukraine, historical events that happened with Ukraine as a whole – the Golden Horde’ invasion, the exploits of the Zaporozhian Sich, events of the twentieth century, which were tragic for both, Western and Eastern Ukraine. It was in these events that the eternal desire of the Ukrainian people for freedom was clearly manifested, they became symbols of his struggle for territorial integrity and his own religion and self-expression (national consciousness, culture, art), for an ideal future. Since the historical process of unity of the Ukrainian nation has not yet been completed, the problems of this study within the framework of Ukrainian musical art have prospects for further development.

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Belova, Ye D. "The image of Ukraine in the symphonic frescoes «Taras Bulba» by Sergey Turneev." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 27–44. http://dx.doi.org/10.34064/khnum1-57.02.

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Introduction. The choice of the researchtheme and material was determined by the fact that the author of the article played the percussion part in the performance of the symphonic frescos «Taras Bulba» by S. P. Turnieiev in 2016. A true creator seeks to unite in his work the subconscious, intuitive and conscious rational. Thence there is a need to conceptualize the performance of the piece in unity with the composer’s concept and present thought process in the form of scientific reflection. Theoretical Background. The theoretical basis of the research was the works representing three directions in the study of picturesque in musical art: 1) the picturesque principle of composition in an epic symphony: works by I. Alieksieieva, V. Valkova, N. Vynokurova; 2) genre of symphonic picturesque: research by O. Yendutkina (Shyriaieva); 3) history and typology of picturesque and pictorial images of music: Ph.D. thesis by N. Rybak. The purpose of the research is to identify the image features of Ukraine in the symphonic frescos «Taras Bulba» by S. P. Turnieiev in accordance with the specific embodiment of civic lyrics in the work. Methods. The epic drama «Taras Bulba» by L. Toma (after M. Hohol), for the performance of which S. P. Turnieiev wrote music and afterwards created symphonic frescos, is a dialogue in the ‘Great Time’ (Bakhtin’s concept). The proposed symphonic work reflects the national world picture. Therefore, the author of the article refers to the scientific model of I. Romaniuk, adapting it to the character of the musical piece. The latter represents the principle of the Synthesis of the Arts at the newest stage of cultural development. Results. The principle of picturesque in S. Turnieiev’s Symphonic Frescos joins reception of picturesque as a phenomenon and as a concept and manifests itself in different semantic connotations; 1) picturesque as an artifact of fine art (through the fresco of the Virgin, the visual series of the peice); 2) picturesque as an attribute of the performance (through the connection with the music for the drama performance); 3) the picturesque principle as a factor of establishing links between the visual and other types of art (through the poetic word and visual series expressed in music); 4) the picturesque principle of thinking and composition implemented in the epic symphony (interaction of “narration” and show) is implicitly present in the symphonic frescos; 5) the picture of the world in accordance with the definition of I. Romaniuk, who defines this concept in the chosen discourse. S. Turnieiev’s work is interpreted in the cultural context of the «Great Time». The development of culture is possible due to the continuity, which I. Romaniuk considers as a «criterion of the Ukrainian world picture». The formation of continuity in the perception of the national world picture by different generations of the Ukrainians (I. Romaniuk ‘s concept) is carried out through dialogue in the «Great Time» owing to the «Great Memory» of the people of Ukraine (Bakhtin’s concept). The image of Ukraine unites the perception of the homeland from two points of view: emotional and sensual, on the one hand, and social – as an awareness of the existential realities of the Ukrainians with their value assessments of everyday life and the inner entity of a person, on the other hand. Timpani (tulumbas) used to be an irreplaceable attribute of the Cossack’s troops. S. P. Turnieiev’s statement that the hero of the work is the Cossacks with Taras Bulba as one of them implies the personification of the protagonist by the timbre of the timpani. On the other hand, at a more generalized level of personalization, the role of the timpani can be defined as a symbolic embodiment of the whole Cossacks, rather than an individual representative. Conclusions. Thus, the picturesque in the analyzed work is manifested through the innovative embodiment of the concept of artistic synthesis and reproduction of the mental picture of the world. The latter is determined by the continuity of the Ukrainian cultural paradigm, its values and spiritual landmarks and at the same time it resonates with the civil lyrics of L. van Beethoven. The principle of show, illustration of the poetic word by music, is combined in S. Turnieiev’s work with a symphonic generalization, due to which the piece is perceived as akin to Beethoven’s concepts. The connection with the music for drama performance, which was the basis for the creation of the symphonic frescos, is maintained through thinking in pictures which make up the stage process. The work presents the sound images of percussion instruments extensively. In particular, the timpani play a meaningful conceptual role as expression of personification – the Cossacks as a community, on the one hand, and Taras Bulba as a victorious warrior, the protagonist of symphonic frescos, on the other hand. As a research prospect, the author of the article offers further investigation of the sound images of percussion instruments (in expressive and conceptual terms) in the works of modern Ukrainian composers.

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Mironova, Anastasiya Vladimirovna. "Vocal and arranging solutions for broadcasting Kuban Cossack folk songs: methodology and practice." Культура и искусство, no. 2 (February 2024): 13–24. http://dx.doi.org/10.7256/2454-0625.2024.2.69800.

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The object of the research is performance as a theoretical and methodological basis for the preservation of folk songs in the modern world. The subject of this work is a variety of tools for translating sources through the use of interpretation through vocal arrangements. The purpose of this study is to find performance techniques for comprehending the folklore of the Kuban Cossack song, illustrative popularization of the real listener through a new reading of the original source. In identifying the substantial foundations of song performance, special attention is focused on the music collections of folklorists V. G. Zakharchenko (born 1938), A. D. Bigdai (1855-1909), G. M. Kontsevich (1863-1937), who made a significant contribution to the foundations of the Kuban Cossack folk singing art. Along with this, the analysis of a wide range of vocal arrangements in the practice of professional and amateur vocalists provides a postulation about the ambiguity of interpolation in the formation of an original reading of folklore documents. The theoretical justification of this study is based on the tactics of analyzing endemic folklore singing concepts in the context of the art history dynamics of modern research. The methodological core of the work identifies the elements of preserving traditional performance through the vocally processed embodiment of Kuban Cossack folk songs. The author's direction has been developed in the complex of the constituent elements of the arranging performance, based on the personality of the vocalist, containing an individual interpretation of the performing plurality. The performing techniques of folklore Cossack sources has been formed. Exceptional accents are identified in the analysis of musical folklore sources (selectively) to establish new technical characteristics of performance. The scientific novelty of the research lies in the genesis of Cossack culture for the author's constructive orientation of ways to preserve and transform musical material to a modern listener. The characteristics of the song material according to the genre-performing component, expressed by the system of mechanisms of performance by vocal-performing solutions, are revealed. The derived orientation of the translation mechanisms opens up new facets of the performance of Kuban Cossack folk songs for the preservation of traditions with multifaceted options for the transformation of folklore documents for subsequent generations.

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Suprun-Yaremko, Nadiya. "Hryhorii Kontsevych’s Music-foikloristic activity." Ethnomusic 16, no. 1 (2020): 93–114. http://dx.doi.org/10.33398/2523-4846-2020-16-1-93-114.

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Musical and folkloristic activities of the Kuban activist Hryhorii Kontsevych, Ukrainian in origin, lasted for half a century under conditions of the Russian Empire, and from 1920 – Soviet totalitarian socio-political reality, of which he became the in- nocent victim in 1937, accused of being involved in the preparation of terrorist attack against Stalin. Kontsevych’ name o and his versatile activity as a chanter, folklorist, composer, teacher and organizer of music affairs in the Krasnodar Territory of the Russian Federation have been hushed up for 52 years (until 1989). In her paper, the author, as a native of the Krasnodar Territory and researcher of folk culture of the Ukrainians from Kuban, set out an objective to draw up a creative portrait of H. Kont- sevych and review his folklore collections and papers that were reprinted or found in the libraries and archives of Krasnodar with the support of the leader of Kuban Cossack Choir, folklorist, Honoured Artist of Russia, Ukraine and Adygea Viktor Zakharchenko. The paper draws up Kontsevych’s creative portrait, examines (based on republication of 2001) the entire corpus of arranged and published in 1904–1913 276 song and analyses the collection “Musical folklore of Adygei in the records by H. M. Kontsevych”, written shortly before his death, but first published in 1997. The research essay “Chumaks in folk songs” introduced to the scientific circulation. The research essay “Chumaks in folk songs” introduced to the scientific circulation. The conclusion is drawn up that it was exactly Hryhorii Komtsevych, who made the great- est contribution to the formation of Kuban musical folklore.

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Varavkina-Tarasova, Nadiy. "Music of the “Anthem of Ukraine” by M. Verbytsky in the Words of P. Chubynsky: Spiritual Symbols." Krakowskie Studia Małopolskie 36, no. 4 (2022): 332–43. http://dx.doi.org/10.15804/ksm20220419.

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The study is devoted to the main musical symbol of the Ukrainian people. It is revealed that the work has a high prophetic symbolism regarding the evolutionary development of the country. The method of analysis of the spiritual content of melodies helps to identify a systematic objectification of its potential, based on the category of “spiritual reality”, and is considered from a musicological point of view. The melody reveals a symphonic technique of proto-intonation development. The genre basis of the melody is prayer. The system reproduces the basis of musical drama of Ukrainian folklore. The method of microminiature art, typical of Ukrainian folk masters, is embodied. The methodological basis helps to focus on the development of the sacredness of space-time content. The program potential of this work is able to lead the transformation of the spiritual state of man. Sacred symbols are placed in the center of energy development. The music conveys the idea of a renewed pulse. The people recognize Nature as the Temple in which man exists. The world of spirituality is sanctified by its living perception. The music of the “Anthem of Ukraine” perfectly combines the world and consciousness of people who woke up from eternal slavery. The melody contains courage and tenderness, firmness of spirit and faith in a good awareness of Truth and Joy. The cosmic law of consonance, the law of analogy is embodied. In the microstructure of the thematic core of the melody there is a point and its energy “engine” – dotted rhythm, a microelement of the iambic foot of the One Whole, which serve as two symbolic parameters of the formed core of themes. They perform in the energy layer the fundamental microfunction of the level of the heart, the function of the highest prayer to the Spirit, which helps the manifestation of spiritual consciousness in the density of the musical structure. the masculinity of the major is affirmed and ends with the gentle, feminine softness of the parallel minor, which indicates the systematic fluctuations of their paired periodicity in melodic-syntactic structures. A peculiar system of expressive symbolism of artistic and figurative drama of Ukrainian folklore, a reflection of the powerful genre of youth lyrics, the core of the spiritual greatness of culture, which is still preserved in the folk traditions of family education. The most popular image of the Mother of God is inspired by the Ukrainian prayer site, a sacred symbol of the famous icons “Protection of the Blessed Virgin” of the Zaporozhian Cossacks. The highest feminine principle encourages the protection of the male community, the whole nation, endows the Almighty with an effective symbol of patriotism, covers with its omophorion, gathers an army of men on the battlefield, the sanctity of monasticism, which protects spiritually. Intuitively and intelligently, the composer-priest conveyed that the invisible Hierarchy of Light stood up for the protection of hearts that dream and know of dignity and honor, honesty and spiritually high justice in the reality of earthly existence.

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Varavkina-Tarasova, Nadiya. "Music of the “Anthem of Ukraine” by Mykhaylo Verbytsky in the Words of Pavlo Chubynsky: Spiritual Symbols." Copernicus. De Musica 1, no. 1 (2022): 77–83. http://dx.doi.org/10.15804/cdm.2022.1.08.

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The study is devoted to the main musical symbol of the Ukrainian people. It is revealed that the work has a high prophetic symbolism regarding the evolutionary development of the country. The method of analysis of the spiritual content of melodies helps to identify a systematic objectification of its potential, based on the category of “spiritual reality”, and is considered from a musicological point of view. The melody reveals a symphonic technique of proto-intonation development. The genre basis of the melody is prayer. The system reproduces the basis of musical drama of Ukrainian folklore. The method of microminiature art, typical of Ukrainian folk masters, is embodied. The methodological basis helps to focus on the development of the sacredness of space-time content. The program potential of this work is able to lead the transformation of the spiritual state of man. Sacred symbols are placed in the center of energy development. The music conveys the idea of a renewed pulse. The people recognize Nature as the Temple in which man exists. The world of spirituality is sanctified by its living perception. The music of the “Anthem of Ukraine” perfectly combines the world and consciousness of people who woke up from eternal slavery. The melody contains courage and tenderness, firmness of spirit and faith in a good awareness of Truth and Joy. The cosmic law of consonance, the law of analogy is embodied. In the microstructure of the thematic core of the melody there is a point and its energy “engine” – dotted rhythm, a microelement of the iambic foot of the One Whole, which serve as two symbolic parameters of the formed core of themes. They perform in the energy layer the fundamental microfunction of the level of the heart, the function of the highest prayer to the Spirit, which helps the manifestation of spiritual consciousness in the density of the musical structure. the masculinity of the major is affirmed and ends with the gentle, feminine softness of the parallel minor, which indicates the systematic fluctuations of their paired periodicity in melodic-syntactic structures. A peculiar system of expressive symbolism of artistic and figurative drama of Ukrainian folklore, a reflection of the powerful genre of youth lyrics, the core of the spiritual greatness of culture, which is still preserved in the folk traditions of family education. The most popular image of the Mother of God is inspired by the Ukrainian prayer site, a sacred symbol of the famous icons “Protection of the Blessed Virgin” of the Zaporozhian Cossacks. The highest feminine principle encourages the protection of the male community, the whole nation, endows the Almighty with an effective symbol of patriotism, covers with its omophorion, gathers an army of men on the battlefield, the sanctity of monasticism, which protects spiritually. Intuitively and intelligently, the composer-priest conveyed that the invisible Hierarchy of Light stood up for the protection of hearts that dream and know of dignity and honor, honesty and spiritually high justice in the reality of earthly existence.

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Bovsunivska, N. "EDUCATIONAL POTENTIAL OF MUSIC ART OF ESTATES OF POLISH COMMONWEALTH (XVI-XVIII CENTURIES)." Zhytomyr Ivan Franko state university journal. Рedagogical sciences, no. 3 (106) (October 31, 2021): 20–32. http://dx.doi.org/10.35433/pedagogy.3(106).2021.20-32.

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The changes taking place in the education system of Ukraine recently have a purpose to educate an intelligent, competent, creative person. To solve this task, it is urgently necessary to study the creative achievements of the past. Today, the artistic traditions of a powerful state – the Polish-Lithuanian Commonwealth are covered insufficiently and incompletely. This is a territory with rich educational traditions of numerous ethnic minorities, in whose cross-cultural relations there were often various artistic trends that were both mutually enriched and polarized. Insufficient study of their heritage, coupled with biased ideological assessments, requires revision and possibly rethinking. Therefore, it becomes clear that it is too early to "collect wisdom from all planets", as the UNESCO program calls for, when you do not know your own history. The development of estate musical art was already the subject of special scientific analysis, but it was in the Polish history of pedagogy and during the XVIII century. For various reasons, the Ukrainian musicological discourse completely lacks generalizing works devoted to the analysis of the bicentennial musical culture at the courts of magnates. This topic has repeatedly fallen into the focus of musicologists' attention, but it was limited to only a few topics. These are the chapels of Polish kings, the serf chapels of Lords (and this is already the XIX century) and the position of musicians at the courts of the Russian tsars. One of the characteristic features of the so-called Lithuanian-Polish era of Russian history (with the exception of the last 50-70 years) is its impersonality. One can search for a long time for the causes of this phenomenon, but the fact remains: from the middle of the XIV to the middle of the XV century. We have only a gallery of portraits (sometimes quite sketchy) of Lithuanian princes, and in the history of the next century, as M. Hrushevsky noted, the names of only a few Ukrainians were engraved, who "played a significant role in public life, road, service to the state" [1: 4]. The Lithuanian-Polish era is three centuries full of mysteries and paradoxes. They seemed to have fallen out of the memory of society. It seems that between the invasion of Khan Batu and the liquidation of the Zaporozhian Sich in the history of the state was a deaf cultural intermission (even despite the presence of the Golden Age of the Cossacks in history). However, the events that took place in a limited society of princely or count's estates lacked neither historical grandeur nor drama.

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SUPRUN-JAREMKO, Nadiya. "INTERPRETATION OF INDIVIDUAL LOCAL PERFORMANCE STYLES OF SONG TRADITION OF UKRAINIAN KUBAN." Bulletin of the Lviv University. Series of Arts Studies 280, no. 20 (2019): 104–18. http://dx.doi.org/10.30970/vas.20.2019.10644.

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In the proposed the author, based on collected in 1990-1996 on the territory of the historical Black Sea region (the steppe part of the modern Krasnodar Territory of the Russian Federation ) and personally transcribed multi-genre Ukrainian folk song (more than 1.000), has studied and interpreted the individual local performance styles of five Kuban folk female singers of high artistic level. Having defined the style as a musical-aesthetic and musical-historical category, one the interpretations of which is the individual manner of specific creative work, and connected the word-group of the performance song of oral functioning with the notion of interpretation as an individual explanation of musical ethnic work in the process of its performance, the author specifies local song styles of the Ukrainians’ Kuban tradition through the artistic description of its brightest (accented) representatives. Thus, the basis of melismatic performance style by Olga Demianenko (born in 1911, Starokorsunska village, Soviet district of Krasnodar) is the drawling vocalization of poetic syllables and improvisational and free creation of the song composition. Liuboy Korchina (born in 1931, Nedvedivska village, Tymoshivsk district) demonstrated a refined, recitative-cantilene ornamental style of instrumental type, saturated with tirades, passages, grace notes, and fioritures. Nataliia Sliepchenko (born 1935, Starodzhereliivska village, Poltava district) possesses a bright ornamental recitative-cantilenestyle with elements of fioriture and “overtone” (by its definition) manner of intoning. Sophia Nesterova (born 1916, Starokorsunska village) tends to drawlingsinging of song’s melodic details and variationalcouplets formation. Antonina Shakhvorostova’ (born 1928, Voronezka village, Ust-Labinsky district) cantilenadrawlingstyle,which was influenced by the Old Cossack Don singing, can be called contaminated Ukrainian-Kuban, where сantilenе linearity seems to modulate from tone to tone in aflow of “viscous” melointoning. These singers, for many years of their efficient creative life, provided for own self-expression, contributed to accumulation and update of the stable and mobile fund of the melodic-rhythmic elements in “own” local environment and, despite sufficient social challenges, total Russification and offensive of local consciousness and regional system of standards, maintained national constant signs of primary culture.

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Demina, Vera, and Andrey Golovin. "Academic Music in the Repertoire of the Southern Military District Bands in the Second Half of the 20th Century." Scientific and analytical journal Burganov House. The space of culture 20, no. 6 (2024): 115–22. https://doi.org/10.36340/2071-6818-2024-20-6-115-122.

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The article considers the role of academic music in the process of the repertoire development of military bands of the Southern Military District. Particular emphasis is given to identifying the specifics of academic music’s functioning within the context of Russian culture when analysing its importance in the repertoire of military bands from the 1980s. Studies on the characteristics of academic musical art and works devoted to the development of military bands were employed in this regard. The research material was based on a collection of documents regarding the 24th Military Band of the Joint Strategic Command of the Southern Military District, formed on the basis of the military band of the 106th Communications Regiment (formerly the 15th Military Band of the Headquarters of the North Caucasus Military District). The Correspondence on the military band service of the bands of the Southern Military District for 1988–1989 was the basis for establishing the repertoire, composition, and management of the bands. As a result of its study, the main directions of the repertoire of the bands of the Southern Military District were established. The concert repertoire of the bands included works by outstanding Russian and foreign composers of academic orientation. These are famous works by 19th century composers: M. Glinka (Overtures to the operas Ivan Susanin (A Life for the Tsar) and Ruslan and Lyudmila), A. Dargomyzhsky (Fantasy on a Cossack theme), N. Rimsky-Korsakov (Concert March on the themes of the symphonic suite Scheherazade and Procession from the ballet Mlada), M. Mussorgsky (Scherzo in B-flat major), P. Tchaikovsky (Solemn Overture of 1812), S. Rachmaninoff (Overture to the opera Aleko), G. Rossini (Overture to the opera The Barber of Seville), G. Verdi (The Drinking Song from the opera La Traviata). Moreover, the bands of the Southern Military District performed academic music by Soviet composers. Academic traditions are preserved in the formation of the modern repertoire of the 24th Military Band of the Joint Strategic Command of the Southern Military District. Conclusions are drawn regarding the exceptional training of military band musicians, which enabled them to perform virtuoso academic pieces that exemplify the intricate artistic concept of notable 18th- and 20th-century composers. It is observed that understanding the principles of academic music’s functioning in band activities allows us to reevaluate traditional views on their importance in Russian musical culture and to appreciate how military music influenced the evolution of academic art.

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Moros, Larysa. "Panteleimon Kulish’s Dramaturgy: Historical and Spiritual-Philosophical Features." Слово і Час, no. 10 (October 16, 2019): 44–51. http://dx.doi.org/10.33608/0236-1477.2019.10.44-51.

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The paper explores the ground of the ideas, plots, and schemes of conflicts in ideological dramas by P. Kulish. The two of them are conditionally symbolic while the other three are based on real historical material. The libretto of the musical performance “A Woman from the Farmstead, or Singing Praise to the Bride in front of the Wedding Guests” and multifaceted drama “Herod’s Trouble” show combination of biblical, i. e. international, elements, while the latter also contains traditional folklore features of the Ukrainian Nativity Play. The other group of works makes up the trilogy, although P. Kulish interprets the selected topics in different ways and every time uses special literary techniques. The tragedy “Baida, Prince Vyshnevetskyi” depicts the conflict between the real historical figure, who was the founder of the regular Cossack army and folklore character, and representative of the Cossack poor, therefore between the knightly and lumpen forces. The heroes of the drama “Petro Sahaidachnyi” are prominent figures of the Ukrainian authorities, church, and culture of the 17th century, so the main conflict is determined by the concern for the development of cultural life; it unfolds in intellectual and philosophical sphere. The characters reflect on the problems of confrontation, combination of faith and science, possibility of spiritual or political struggle, etc. The ‘Old Ruthenian’ drama “Tsar Nalyvai” (the action takes place in the hot 1596) is the most dynamic; it has the most elaborate intrigue, but here the focus is rather on the deep symbolic language than on revealing the emotional or intellectual world of the characters. There are also some common features in all the dramas by Kulish. The author interpreted historical events estimated as the most important in a way of ideological conflict, combining historical phenomena and figures with symbolic (biblical and folklore) images and details.

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Drach, Irina. "Lviv musical impressions on the pages of A. Bennett’s diary." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (2021): 9–20. http://dx.doi.org/10.34064/khnum1-59.01.

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Background. Objectives and methodology of the research. The article contains a commentary to the separate pages of A. Bennett’s diaries, in which the impressions of the famous English writer, playwright, actor and journalist from visiting the cities of Moscow, Orel and Lviv were recorded in May 1988. This trip took place at the invitation of the Writers’ Union of the USSR. As part of the British delegation, A. Bennett carried out a mission of “cultural diplomacy”, whose goal was to open the “Iron Curtain” between the West and the countries of Eastern Europe. The program of the visit of the foreign delegation is analyzed, in particular, visits to opera performances (at the Bolshoi Theater – “Werther” by J. Massenet, at the Lviv Opera and Ballet Theater – «The Ukrainian Cossack beyond the Danube» by S. Gulak-Artemovsky). The purpose of this article is to introduce into the scientific circulation the evidence that allows illuminating the events of the recent past through the prism of the perception of their immediate participants. Another task of this article is to determine the pragmatics of “hospitality” and its operatic component in the conditions of the Soviet system on a concrete example. In addition, the article establishes, with the help of diary notes, the specifics of the guests’ reaction to the realities of Ukrainian life during the “Perestroika” period and to the fact that opera represents power, which is essential for cultural diplomacy. The research is based on diary prose, which was originally prepared for publication in a literary journal. This determined the appropriate mode of expression and set the choice of illuminated objects. The descriptive-evaluative narrative appeals to real places and persons. So, the author tries to achieve the effect of documentary. At the same time, there is a noticeable tendency to create a slightly entertaining text that should interest the average reader and meet his expectations. Research results. This material made it possible to supplement with interesting facts the practice of cultural diplomacy that was established in the USSR, which was covered by the Western researchers, for example F. Barghoorn (1960), P. Hollander (1981), M. David-Fox (2011). In addition, the analysis of this evidence made it possible to introduce into scientific use not only the events, but also the attitude of foreign guests towards them. This is important for historiography and reconstruction of the recent past. The events, mentioned in the text of the evidence, acquire an outside view. The words of the “outsider” become comparative frame through which it is possible to comprehend what happened, freely from the obsessive rhetoric of the perestroika time. According to Bennett, in 1988 the protective function of the totalitarian system came into conflict with the new trend of the time. The imprint of stagnation and decline, even decomposition, but not the sense of purpose and optimism, which P. Hollander described as the “stigma of these countries”, also affected the “window” of Soviet reality, where obvious cracks of loud selfdisclosures appeared. The mandatory program of the visit included meeting with colleagues. With the help of diary, the specific reaction of the guests is set to the fact why an opera self-representation was so important for the «Soviet side». The pages of Bennett’s diaries showed attention to everyday details. The writer was able to create not an image of faceless mass, but the vivid portraits of his contemporaries and capture his experience of meeting a different reality. Conclusions. A. Bennett – a man and a writer – recreated his short stay in Lviv, capturing the theatrical nature of the life-giving performance that unfolded here in the tense collisions between official rhetoric and living reality. The opera itself was of little interest to A. Bennett, but he was well aware of the exceptional importance attached by the organizers of the trip to the fact of visiting the opera house. As an “object of showing” to foreigners, the opera served, first of all, as a proof of the “culture” of the country, a proof that the cultural heritage of the past is better preserved here. At the same time, in the system of “cultural diplomacy” the opera topos functioned as an aesthetic representation of power, the “higher truth” about it. Opera representation existed as a self-sufficient complete phenomenon, which testified to the presence of higher meanings in the real world.

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Sokil, L., and I. Tsebriy. "PRESERVATION OF THE TRADITIONS OF THE UKRAINIAN FOLK SCENOGRAPHY OF THE POLTAVIA REGION IN THE PEDAGOGICAL WORK OF THE CHOREOGRAPHERS-PRODUCERS." Aesthetics and Ethics of Pedagogical Action, no. 29 (June 14, 2024): 89–99. http://dx.doi.org/10.33989/2226-4051.2024.29.306144.

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The article deals with the preservation of the tradition of Ukrainian folk scenography of the Poltava region in the pedagogical work of choreographers-directors, the peculiarities of the creative direction of each of the choreographic collectives of the Poltava region, the history of their formation and the form of making talented leaders. The authors highlight the common and distinctive features of the work of these collectives and analyze and compare the specifics of choreographic and vocal-choreographic productions. The article reflects unique figures that revived not only the Poltava regional dance but also the dance culture of Ukraine in general. Performances of Poltava folk ensembles in Estonia, Poland, Germany, France, and other countries near and far abroad, recognition of them and their repertoire on the world stage proves the value of Ukrainian folk scenography. The difference in the teaching of folk scenography in various types of amateur dance groups consists in the extent of formation of choreographic skills and skills of the members of the group (professional level of performance); the availability and number of training classes in various types of choreography (classical, modern, historical and every day, etc.) and auxiliary (acting skills, acrobatics, singing, playing musical instruments, etc.); creative activity in the social life of the university, the city, the country; created in the repertoire of the team, as well as in various pedagogical models of teachers-choreographers. Having analyzed the traditions of Ukrainian folk scenography of the Poltava region in the pedagogical work of choreographers-directors and the current state of the folk-stage choreographic culture of the Poltava region, we can conclude that in the Poltava region, there is a considerable number of collectives, both professional and amateur, which not only preserve the regional choreographic culture but also multiply it. Today, the leading ensembles that demonstrate their skills at the world level are the Honored Amateur Ensemble of Song and Dance «Ltava» named after V. Mishchenko, the dance group of the folk choir «Kalyna», the Song and Dance Ensemble «Poltava», the folk ensemble of Ukrainian dance «Cossack entertainments», choreographic ensemble «Falcons», etc. We consider the prospect of further research to be the creation of practical recommendations for training choreographer teachers to work with folk scenography in out-of-school education institutions; the use of specific methods of preparation of a choreographic work, which take into account the unique features of folk scenography of the Poltava region.

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Konoval, K. K. "The flute art in Kharkiv: the performing and pedagogical traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 190–201. http://dx.doi.org/10.34064/khnum1-54.12.

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Logical reason for research. The flute art has its own history of development, which is marked by different traditions – the performing, composing, and pedagogical. The mentioned traditions outline the ways of the development of the flute art of the present and the future; they have a certain originality of geographical and cultural orientation. Today, the flute art is the subject of the audience demand, the performing and composing creativity, and has a solid repertoire in various styles and genres of both translations and original compositions in many instrumental compounds, ranging from solo to various ensembles and orchestras. This situation in music practice requires the theoretical understanding and generalization, including those in the projection of national and cultural traditions of different countries and regions. However, we can state that, at the moment, music science addresses the performance on the flute not systematically, mostly in a methodological direction. The Ukrainian flute art is closely related to the traditions of the flute music of Western European and Eastern European music art, but it also has its originality, which exists owing not only to musical (intonation, genre, and repertoire), but also to the historical, national-cultural or human reasons. Kharkiv, as one of the historical and cultural centres of Ukraine, has a rich musical history, and traditions of the flute art are its important component. Innovation. The presented article is devoted to the research of the Kharkiv flute art in the aspect of unity and interaction of the performing and pedagogical traditions. This aspect combines a number of historical, theoretical, and practical questions, and allows finding their answers related to the demands of both music science and music practice. We are talking about a number of aspects of the study of the flute art in the aspect of music regionalism, from organology and common European traditions of the flute art to the peculiar features of its development in Kharkiv in all the directions – the composing, performing, and pedagogical. Objectives. The purpose of the study is to identify the specifics of the performing and pedagogical traditions of the flute art in Kharkiv in the aspects of the continuity from European musical art and the identity of the Ukrainian, in particular, Kharkiv flute school. Methods. The main methods of the presented research are the historical one and the systematic one. The first one is related to the historical factors of the development of the flute art both in the European and Ukrainian historical cultural and artistic context. The second one allows one to represent the performing and pedagogical traditions associated with the flute art in their legacy and cultural and regional specification. Results and Discussion. Kharkiv is one of the most important historical and cultural centres of Ukraine. Its military purpose determined the nature of music playing (the regimental music of the Kharkiv Cossack Regiment), its instruments (primarily the wind instruments) and the genre direction. The relevant performing and pedagogical traditions of the Kharkiv musical culture are still marked today by the significant influence of the Kharkiv Wind Instruments School, known both in Ukraine and abroad. The flute art is an important and illustrative part of this historical process. The regimental music influenced the development of music education and training of musicians in Kharkiv – the opened schools for teaching children also had a "military profile" (from the nature of the student recruitment to instrumentation and repertoire). In the 18th-19th centuries the flute was spreading in the general education system in Ukraine. Many Ukrainian art and culture figures started their musical training with the flute and perfectly mastered the instrument; the spread of the flute in the musical life of the 18th century is mentioned in the writings by M. Zagaykevych, O. Schreyer-Tkachenko, I. Pyaskovsky and others. The musical activity of the national enlightener G. Skovoroda can be considered essential in this sense; the flute was his companion in many years of his legendary travels about Ukraine. The subsequent opening of schools and vocal-instrumental classes at Kharkiv College demonstrated the expansion of the character of the performing and pedagogical foundations of the flute art in Kharkiv, connected not only with military music, but also with the development of noble-house culture and theatrical and amateur practice. Flute performers were one of the first orders to European teachers. The flute was a part of practically all the variants of ensembles and orchestras of Kharkiv and Slobidska Ukraine. This stimulated the development of performing skills, music pedagogy, composing creativity. It is important that the most skilled flute performers in Kharkiv were, as a rule, the leading teachers and educators. In addition, the Kharkiv wind instruments performance and pedagogy were characterized by such a quality as multi-instrumentalism. At different times, the flute art in Kharkiv (both the performing one and the pedagogical one) was glorified by such artists as I. Vitkovsky, I. Lozynsky, K. Kestner, E. Prill, F. Kuchera, A. Boroznin, E. Krychevsky, G. Heck, D. Rykov, F. Prokhachev. Representing various national schools, they ensured the multicultural development of the Kharkiv flute art. In the 20th-21st centuries the activity of the teachers and students of Kharkiv National University of Arts named after I. P. Kotlyarevsky who were putting their forces into the creation of the local ensembles and orchestras played a decisive role in the development of the flute art in Kharkiv. Conclusions. The "genetic memory" of Kharkiv’s history as a city-military frontier was reflected in the performing and pedagogical traditions of wind instruments music, in particular, the flute art, in its performing (genres, repertoire, and performing stylistic) and pedagogical specificity. The further development of the flute music in the Kharkiv region has enriched these traditions of European music with its diverse repertoire in all genres and styles, but the Kharkiv specificity remains its recognizable core. The summarized results of the presented article indicate that the selected aspect of the study, related to the characteristic of the performing and pedagogical traditions of the flute art in Kharkiv through the prisms of continuity and interaction, is the link that integrates the theoretical and practical directions of studying the art of the flute playing into the whole complex of knowledge, that helps to understand the universal and specific in the processes of the development of the flute art in different aspects – the historical, cultural-regional, and artistic, etc.

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Rvacheva, Olga, and Pierre Labrunie. "Traditional and Modern Forms of the Cossack Culture in the Late 20th – Early 21st Centuries. Revival, Transformation, and Cultural Construction." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija, no. 5 (December 2020): 197–212. http://dx.doi.org/10.15688/jvolsu4.2020.5.16.

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Introduction. The paper deals with studying the formation of culture elements during the Cossacks revival process in the late 20th – early 21st centuries. The cultural pattern of a community is always changing. Cultural practices and traditions of the past get integrated into the modern social conditions, while new values and rituals assume the character of traditional ones. The topicality of the subject derives from the fact that the Cossack culture was subject to a dramatic transformation in the 20th century, while many elements of the culture were wiped out. The transmission of the cultural tradition was interrupted. The Cossacks revival in the late 20th century supposed a return to traditional historical forms. However, this task proved difficult because of the break in the transmission of the ethnic culture. The formation of the present-day Cossack cultural system supposed the selection of some elements of culture from the past and their integration into the new conditions as well as the creation of new forms of culture that would contribute to the cultural identification of the Cossacks. Methods and materials. Historiography has predominantly described the traditional forms of the Cossack culture. The issues of cultural construction were touched upon only occasionally. This paper applies the historical and chronological, historicalgenetic methods as well as the conception of socio-cultural construction. Analysis. During the Cossacks revival process its participants demonstrated a sharp increase of interest in the traditional forms of culture. The attempts at their integration into the present-day conditions led to the deformation of cultural forms. They lost their authenticity and transformed themselves into secondary forms of culture, thus cultural patterns of the modern Cossacks got changed. At the same time, new cultural traditions and norms were “invented”. Their function was to fix Cossacks identity and to show that the Cossacks do exist in the social life of the country. The adaptation of the traditions and historical elements of the Cossack socio-cultural system had its peculiarities. The traditions and elements were taken from different epochs and formed an arbitrary composition of different cultural phenomena. Traditions played an important role in the Cossacks revival process because they acted as cultural identification markers for the Cossack community. For that reason even new cultural practices were given the appearance of traditions. Results. In the late 20th – early 21st centuries the restoration of the Cossack culture was actually its construction. A number of trends can be traced in the process. They developed concurrently and contributed to the creation of new cultural milieu.

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Альтшулер, М. С. "Funeral Lamentations of Khopyor Cossacks." Научный вестник Московской консерватории, no. 4(43) (December 24, 2020): 132–45. http://dx.doi.org/10.26176/mosconsv.2020.43.4.007.

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В статье рассматриваются особенности похоронных и поминальных причитаний народной традиции в бассейне реки Хопёр. При сравнении с причитаниями других регионов казачьи похоронные плачи обнаруживают удивительную стабильность музыкально-поэтической системы — твердо закрепленные формульные блоки есть как в текстах причитаний, так и в напевах. Те компоненты, которые в плачах средней России являются мобильными, здесь типизируются и становятся закрепленными. Работа выполнена на основе экспедиционных материалов из архива Центра народной музыки им. К. В. Квитки Московской консерватории. The article discusses the features of funeral and commemorative lamentations of the folk tradition in the Khoper river basin. Comparing with the lamentations of other regions, Cossack funeral lamentations reveal the amazing stability of the musical and poetic system. There are firmly fixed formula blocks both in the texts of lamentations and in tunes. Those components that are mobile in the lamentations of the central Russia are typified and become steady here. The work is based on expeditionary materials from the archive of K. V. Kvitka Folk Music Research Center at Moscow State Conservatory.

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Artyom S., Goncharov, and Makarova Olesya S. "Peculiarities of Nekrasov Cossacks talk’s vocabulary and semantics of the Novokumsky hamlet, Stavropol Territory (by the linguistic expedition materials of NRU SSPI 2022)." Kavkazologiya 2022, no. 3 (2022): 429–42. http://dx.doi.org/10.31143/2542-212x-2022-3-429-442.

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This article explores the key linguistic features and connections, and dialects fixing concepts, bor-rowings, speech creativity and the actual folklore of the Nekrasov Cossacks of the Novokumsky hamlet (Levokumsky district of the Stavropol Territory). The object of the study was the lexical layer of language data, speech creation and folklore of the Nekrasov Cossacks, men and women of three respondent groups aged 20 to 60 years. The language sources of the local museum—the No-vokumsk Museum of the History of the Nekrasov Cossacks—are considered as the most valuable empirical base for the study of the language, folklore and history of this Cossack group. The in-formation of the museum and historiography emphasizes that the Nekrasov Cossacks are a Cos-sack group whose culture has always attracted domestic researchers who studied the Cossacks in the historical space of Russia, Turkey, Romania and other countries. It is revealed that the lan-guage culture of the Nekrasovites in modern times is not well understood, which leads to interest in this Cossack group. Representatives of the Cossack community of the hamlet are descendants of the Cossacks of the Maynos community. The linguistic features of the Maynos community of Nekrasov Cossacks differed significantly from those of the larger Danube community. A linguis-tic expedition to the Novokumsky hamlet is in demand both to translate the sources of the local museum, and in order to discover the hidden linguistic connections of the community representa-tives, actual folklore, which was formed under the influence of the Stavropol Cossacks. During the expedition, such features of the vocabulary and semantics of the dialect were revealed, such as the saturation of the language with representations of the Old Believer religious culture with a pre-dominance of the influence of the colloquial style of the Turkish language of the XIX century, the Don dialect, and family concepts.

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Dubrovskaia, E. M. "Representation of Cossacks and Cossack culture in the paremiological fund of the Russian language." Philology and Culture, no. 4 (December 28, 2024): 59–63. https://doi.org/10.26907/2782-4756-2024-78-4-59-63.

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The article considers the image of the Cossack and Cossack culture in general, based on Russian proverbs and sayings. The relevance of the study is conditioned by the significance of socio-cultural studies devoted to closely related peoples and conducted through the prism of the Russian language paremiological fund. The article identifies and describes the main characteristic traits of the Cossacks’ everyday life, reflected in Russian proverbs, which indicates the significance of these characteristics. The research sample includes over 150 paremi, presenting proverbs with the ethnolinguistic marker ‘Cossack’, lexical units directly related to Cossack formations (‘ataman’) and four proverbs of Cossack origin. The article reveals the following perceptions of the Cossacks, inherent in the carriers of Russian culture: for the Cossack society the role of the ataman is paramount, Cossacks strive to promote themselves and become worthy continuators of their traditions; the territories, occupied by the Cossacks, include the banks of the Don River and neighbouring regions; Cossacks are characterized by vitality and firmness of spirit, but they are prone to fatalism; Cossack temperament is characterized by severity, intransigence and even stubbornness; Cossacks are unsurpassed in military affairs, as they are considered to be brave and hardy warriors, the fact noted even by Russian commanders; the serious attitude of Cossacks to military affairs determines the high importance of ‘horse’ in the Cossack picture of the world - the animal is not just a means of transport for a Cossack, but a reliable comrade in arms. The results presented in the article allow us to model the image of a Cossack representative in the way the bearer of Russian linguoculture saw it.

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Yang, Sumei, and Nataliya V. Lukiyanchikova. "COSSACK LITERATURE AS A CULTURAL PHENOMENON." World of Russian-speaking Countries 5, no. 3 (2020): 122–38. http://dx.doi.org/10.20323/2658-7866-2020-3-5-122-138.

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In the article, the authors attempt to characterize the specifics and follow the dynamics of literature devoted to the history and culture of the Russian Cossacks, to describe the stages of the development of Cossack literature as a special cultural phenomenon. The article considers in detail that the way of life, the nature of social organization, life and culture, the morals and folklore of Cossacks have always been specific and thereby were of special interest of scientists, in connection with which a large number of scientific studies appeared on various aspects of this phenomenon. Special attention in the proposed work is paid to the regional features of Cossack culture and the multifaceted, internally rich images of Cossacks created by Russian writers (both classics and authors of the XX-XXI centuries), the article explains how the regional component is presented in Cossack folklore and literature, analyzes works devoted to Cossacks as a special socio-ethnic phenomenon. Cossack literature is considered by the authors of literature in the context of three historical periods: Cossack literature of the Russian Empire (before the 1917 Revolution), Cossack literature related to the era of the Soviet state (1917–1991), the latest Cossack literature (from 1991 to the present), it is noted that each era imposes its own imprint on the problems and system of images of works: the heroization of the Cossacks, who fulfill the historical mission of protecting their native land and developing new spaces, in the literature of the pre-revolutionary period, the tragic concept of the Cossacks in the literature of the Soviet era and the image of the process of reviving the spirit of the Cossacks in modern literature.

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Davidova, Ekaterina, Antonina Petrenko, and Olga Dudkina. "Stereotyping of the Don Cossacks in the perception of consumers of folklore-ethnographic tourist and socio-cultural products: to the formulation of the problem." E3S Web of Conferences 273 (2021): 09021. http://dx.doi.org/10.1051/e3sconf/202127309021.

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Ethnic and social stereotypes are an indicative and multifunctional socio-cultural phenomenon that cannot be considered fully studied either in theoretical or in content-practical terms. The paper compares the results of the analysis of current historical, historiographical and cultural scientific works on Don Cossacks, the study of representations of the culture of Don Cossacks in the tourist and socio-cultural spheres in the Rostov Region (24 objects), a pilot survey (N = 70) of respondents for the reconstruction of ideas about Don Cossacks. In the scientific discourse of recent years about Don Cossacks, there is a tendency to discuss the directed formation of the image of the Cossacks by certain social forces.

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Krulikovska, Tetiana. "CREATION OF UKRAINIAN SONG MAKING IN CREATIVITY UKRAINIAN-POLISH COMPOSITORS PODILLYA OF THE XIX CENTURY (BASED ON THE CREATION OF ANTON KOTSYPINSKY, VICTOR ZENTARSKI AND VLADISLAV ZAREMBA)." Scientific Issues of Ternopil National Pedagogical Volodymyr Hnatiuk University. Specialization: Art Studies, no. 2 (May 23, 2023): 33–42. http://dx.doi.org/10.25128/2411-3271.19.2.5.

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The rich song heritage of the Ukrainian people, representing the spiritual treasures of the nation in the world cultural space, had a significant impact on the development of musical culture of the XIX century and the formation of leading music genres in Ukrainian music. The article explores the genre of processing Ukrainian folk songs in the works of Ukrainian composers of Polish origin of the XIX century Anton Kotsipinsky, Victor Zentarsky and Vladуslav Zaremba. The significance of the Ukrainian song as an important source in the formation of the creative heritage of the composers of Podillуa is considered, the main features of piano writing are described on the example of the processing of Ukrainian songs. So, a significant number of piano compositions by Ukrainian composers of Polish origin related to folklore indicate the depth of interest in folk song and dance sources, their relevance in the artistic worldview of artists and the shaping of interethnic relations in the art of this historical era. Special attention in the study is focused on the active composer transformation of Ukrainian song material in the genre of piano processing in the creations of composer and teacher of Polish descent Vladуslav Zaremba (1833–1902), who was born in Dunaevtsі, Podillya province. The piano heritage of Vladyslav Zaremba has its source almost exclusively in Ukrainian folk song, on the basis of which the national tradition of the folk song processing genre was formed. 18 creations by V. I. Zarembas are joined under a common name “Ukrainski melodii” are marked by lyricism and bright melody. The genre palette of folk songs addressed by Vladyslav Zaremba consists of: family and household – “V kintsi hrebli shumliat verby”, “Chy ya v luzi ne kalyna bula”, “Kozak vidizhdzhaie, divchynonka plache”; lirycal – “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Sontse nyzenko, vechir blyzenko”; as well as cossack – “Hei-zhe vy khloptsi, slavni molodtsi”, burlatska – “Zibralysia vsi burlaky”. A separate group of piano works is composed of songs of literary origin: “Povii vitre na Vkrainu” (lyrics by S. Rudansky, music by L. Alexandrova), “Reve ta stohne Dnipr shyrokyi” (lyrics by T. Shevchenko, music by D. Kryzhanovsky), “Cherevykiv nemaie, a muzyka hraie, hraie, zhaliu zavdaie!” (lyrics by T. Shevchenko), “Stoit hora vysokaia” (lyrics by L. Glibova), “De hrim za horamy” (lyrics by M. Petrenko), belonging to the genre of the song romances. Featured piano works by V. Zaremba have the author’s designation for belonging to the “Dumky” genre. Among them – “Sontse nyzenko”, “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Chy ya v luzi ne kalyna bula” and original piano works – “Dumka”, “Chant d'Ukraine” (“Pisnespiv z Ukrainy”). The fact that the Dumka genre spread in the estates of the Polish aristocracy and among Polish philistines since the 1820’s confirms the particular popularity of V. Zaremba’s piano works in domestic home and parlor music and emphasizes the manifestation of the romantic style of this era. Most of the composer’s treatments are presented in a coupled-variation form. The article outlines the leading role of Ukrainian song as an important source in the building of the composer’s piano heritage, analyzes the main techniques and varieties of the variational development of the main thematic material, traces the connection with folk and professional manners of musical material presentation, and also considers the features of the musical form, harmony and texture of piano treatments by Vladyslav Zaremba.

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Адрианна Рамзановна, Маргоева,. "Buddhist Cossacks: The Transformation of Traditional Culture in Modern Conditions." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 4 (January 2, 2023): 101–10. http://dx.doi.org/10.26158/tk.2022.23.4.009.

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Бурятское казачество, важным компонентом идентичности которого является буддизм, возникло в XVII в. и прошло долгий исторический путь. На рубеже XX-XXI вв. на фоне возрождения русского казачьего наследия наследие бурят-казаков остается без должного внимания. Несмотря на то что бурятское казачество формально прекратило свое существование в 1920-1930-х гг., буряты продолжили передавать казачью культуру внутри семьи. Культура эта не материальная, а скорее духовная и связана со стремлением служить государству и защищать его целостность. Однако сегодня буряты предпочтут служить в официальных государственных структурах, чем ассоциировать себя с современным казачеством. Кроме того, акцент на возрождение песенно-танцевальной культуры также не вызывает у потомственных бурят-казаков желания вступать в казачьи общества. Тем не менее, несмотря на определенные трудности, они стремятся отстоять свое право называться настоящими казаками. The history of Buryat Cossacks traces back to the seventeenth century, and Buddhism always played a paramount role in its development. Against the background of the revival of the predominantly Russian Cossack heritage in the twentieth - twenty-first centuries the heritage of the Buryat Cossacks is under-researched, despite the fact that there is a similar process of renewal among Buryat Cossacks. Although the Cossack identity almost ceased to exist in the 1920s and 1930s, this group of Buryats continued to pass on Cossack culture within the family. This culture is not material, but spiritual, centered in the desire to serve the state and protect its integrity. However, today Buryats prefer to serve in official state structures rather than associate themselves with the Cossack movement. The interest in reviving traditional Cossack songs and dances do not make hereditary Buryat Cossacks want to join Cossack societies. Nevertheless, despite certain difficulties, they do strive to defend their right to be called true Cossacks.

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Zemtsovsky, Izaly, Theodore Levin, Margarita Mazo, and Olga Velichkina. "Old Believers: Songs of the Nekrasov Cossacks." Ethnomusicology 40, no. 3 (1996): 540. http://dx.doi.org/10.2307/852483.

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Lazarev, Maxim, and Ekaterina Bochkareva. "Cossack education and culture as a factor of social integration and modernization in Russia." Bulletin of the International Center for Arts and Education, no. 4 (August 29, 2022): 48–71. https://doi.org/10.5281/zenodo.7031038.

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The article is devoted to the analysis of the process of formation of education and culture of the Cossacks in Russia, implemented on the basis of the analysis of the specifics of the regularity of the logic of the process of integration. There is a connection between their nature and priorities in social development. The presented logic of the implementation of reforms in various spheres of activity of the Cossacks assumes its manifestation, which determines the importance of its study. The developed system of education of the Cossacks is viewed from the point of view of the sphere and system of categories, characteristic and familiar to pedagogical science, first of all, the proximity of man to nature, correlated with anthropologism.

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Salchinkina, Angelina R. "Monument to the Zaporozhian Settlers in Taman as a Reflection of the Historical Culture of the Kuban Cossacks." Общество: философия, история, культура, no. 7 (July 24, 2024): 209–18. http://dx.doi.org/10.24158/fik.2024.7.29.

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The article analyzes the main structural components of the historical culture of the Kuban Cossacks through the prism of the creation of the monument to the Zaporozhian settlers in 1911 in Taman. The study utilized histori-cal-genetic and cultural-historical methods, as well as narrative analysis and interdisciplinary approach. The novelty of the work is determined by both the subject area of the study and the source base, represented by the materials of the State Archive of the Krasnodar Krai. Using the example of the creation of the monument to the Zaporozhian Cossacks, the main elements in the structure of historical culture are highlighted: the core, the image-symbolic space around it, actors, historical contextuality, functions. It is shown how various social groups – the Cossack community and the official government – updated historical narratives stored in collec-tive memory, making them socially significant in certain historical periods. Conclusion dwells upon the fact that the historical culture of the Kuban Cossacks is embodied in the monument in two concepts – as an event that consolidates the imperial granting of the Kuban land to the Cossacks “for eternal possession”, and as a tool for transmitting the required corporate values and social model of behavior aimed at serving the Fatherland and the state.

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Dubovikov, Aleksandr Maratovich, and Larisa Yurievna Lepeshkina. "Spiritual and moral qualities of the Ural Cossacks in family and marriage relations (the 18th – early 20th centuries)." Человек и культура, no. 2 (February 2024): 160–72. http://dx.doi.org/10.25136/2409-8744.2024.2.70152.

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The subject of the study is the spiritual and moral qualities of the Ural Cossacks, most clearly manifested in family and marriage relations. On the basis of the analysis of family and marriage traditions of the Ural Cossacks it is possible to construct an image of a Cossack warrior, ready to desperately defend his Homeland. The study of historical aspects of the development of folk traditions becomes especially relevant in the conditions of the modern worldview crisis. Archival materials and a variety of local history literature (works of I.I. Zheleznov, N.A. Borodin, V.N. Vitevsky, V.G. Korolenko, A.V. Gnedenko, etc.) were used for the preparation of the article. Methodologically, the article is based on the cultural approach, which allows us to understand the reasons for the stability of Cossack traditions throughout the centuries. The novelty of the study lies in the fact that for the first time the spiritual and moral qualities of the Ural Cossacks, manifested in the family and domestic sphere, are considered as an indicator of the Ural Cossacks' attitude to military service. In the everyday culture of the Ural Cossacks in the 18th – early 20th centuries, under the influence of historical factors, such human qualities as responsibility, respect for elders, freedom-loving, collectivism, domesticity and avoidance of honour-defying sexual contacts became valuable. The importance of these qualities has not been lost until now, which is confirmed by the Decrees of the President of the Russian Federation in 2021, 2022 and 2023. The need of society and the state for real heroes, as the Ural Cossacks were considered to be, becomes especially acute when national threats increase. The article concludes on the role of spiritual and moral qualities of the Ural Cossacks in preserving their unique culture.

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Chapygin, Igor V., and Ksenia A. Smirnova. "Cultural Activity of the Cossack Emigration in the Territory of the Three Rivers." Humanitarian Vector 18, no. 1 (2023): 56–63. http://dx.doi.org/10.21209/1996-7853-2023-18-1-56-63.

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The article examines the appearance of the Russian Cossacks on the territory of Northwestern Manchuria, namely the Three Rivers, the construction of the first settlements, their cultural life and the translation of Russian traditions. The authors of the work set a goal to study the contribution of the emigrant community to the development of the image of this region, the process of preserving traditional orders and foundations. This problem is considered in the article from the material and spiritual-social directions of culture. The relevance of the topic is due to the process of returning to active social activity of the Cossacks. In modern Russian society, discussions about the essence of the Cossacks, the economic, moral, social and spiritual foundations of their life do not cease. The authors use the fundamental principles of historical science. The principle of objectivity made it possible to evaluate the analyzed historical documents taking into account the subjectivity of their author. Representatives of the Cossack emigration in the Three Rivers were active in cultural life, which against the background of the cultural life of other emigration groups, was distinguished by its initiative. All achievements in different aspects of culture had a special Russian personality. They were reflected not only in everyday life and material culture, but also in the development of institutions such as education, literature, publications, the church, etc. Arriving on the Manchurian side, the Cossacks brought with them their way of life and culture, which strengthened on foreign territory and became a reference point for the development of the region. Thanks to the location of the Chinese authorities, the Three Rivers began to grow and develop rapidly. People fleeing wanted to feel like an integral part of Russia. Various representatives of the emigrant Cossacks, including the intelligentsia, the clergy, sought to support the Russian spirit and opposed assimilation. The paper identifies and seems promising the need for further research, reconstruction, translation and support of the Cossack culture of the Russian Three Rivers.

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Lankina, Tomila. "The Cossacks: A Guarantor of Peace or a Land-Mine in Russia's Federalism?" Nationalities Papers 24, no. 4 (1996): 721–26. http://dx.doi.org/10.1080/00905999608408480.

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Russia's policy towards the Cossacks may prove detrimental to the development of federalism in Russia. Their rehabilitation is important for the rebirth of Russian culture. Yet, the Cossacks as a social-military institution, may further harm the relations between ethnic Russians and non-Russians in the Caucasus, which may revive the dispute over the preservation of the ethnic principle in Russia's federalism.

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Yang Sumei, Yang Sumei, Wang Jinbo Wang Jinbo, and I. Yu Yurchenko. ""COSSACKS RESEARCH" 2020: IN CHINA ON THE BASIS OF THE ANHUI NORMAL UNIVERSITY HELD AN INTERNATIONAL CONFERENCE." Vestnik scientific and methodological council in environmental engineering and water management, no. 20 (2020): 84–96. http://dx.doi.org/10.26897/2618-8732-2020-84-96.

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The article reports on the international scientific conference "Cossack Studies" 2020 that took place on 12.12.2020. The conference was held in Wuhu (China) at the Anhui Pedagogical University. The conference was organized by the Volga-Dnepr Regional Research Center under the Ministry of Education of the People's Republic of China and the Institute of Foreign Languages of Anhui Pedagogical University. The conference was attended by over 60 specialists in Cossacks studies and experts from China, Russia and Ukraine. The conference was held in a mixed format - offline and online. At the conference, leading scientists made detailed reports and discussed a number of important theoretical and practical problems of studying the history and culture of the Cossacks and the phenomenon of the Cossacks. The conference was timed to coincide with the 450th anniversary of the Don Cossacks.

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Шафажинская and Natalya Shafazhinskaya. "The Russian Cossacks’ Deeds on the State and Military-and-Patriotic Service In The Continuous Education Context." Socio-Humanitarian Research and Technology 2, no. 3 (2013): 19–24. http://dx.doi.org/10.12737/1666.

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The Cossacks’ heroic deeds during the hardest periods of the  Russian history are the embodiment of the archetypal to this country’s  culture image of the brave warrior and defender. Examples of how the  Cossacks proved themselves in terms of military expertise and patriotism  on the public service should be incorporated in the system of continuous  education and general liberal education of Cossack youth.

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Yusuf, Islam Yılmaz. "Don Kazakları'nın Osmanlı Topraklarına Göçü ve İgnat Nekrasov'un Vasiyeti." Kadim, no. 1 (April 15, 2021): 37–52. https://doi.org/10.5281/zenodo.5000413.

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The Migration of the Don Cossacks to the Ottoman Lands and the Will of Ignat Nekrasov: This article studies the Cossacks, a group of people that emerged in the northern steppes of the Black Sea during the fifteenth century. It mainly focuses on the community's political and social effects on the powerful states of the geography, namely Tsarist Russia, Poland, the Crimean Khanate and the Ottoman Empire. After examining the etymology of Cossack and Hetman in the introductory part, it analyzes Don Cossacks’ relations with the Ottomans and the Russian state. Don Cossacks migrated from Russia, where they had a dispute under the leadership of their Hetman Ignat Nekrasov, to the Ottoman lands. Nekrasov's will strictly asked Don Cossacks to protect their identity and beliefs after his death during the period. In this manner, they lived in Anatolia for more than two hundred and fifty years and preserved their language and culture. In the 1960s, they migrated to the USA and Russia due to some customary reasons related to marriage and population decrease. By scrutinizing Don Cossacks' changing contexts, this study aims to draw a framework for the life of the community through the lens of Ottoman documents and Turkish and Russian sources.

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Bashmakov, Igor S. "Civic Activity of Modern Russian Cossacks: Basic Forms and Practices." Общество: политика, экономика, право, no. 6 (June 21, 2023): 32–38. http://dx.doi.org/10.24158/pep.2023.6.3.

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The article examines the main forms and practices of civic activity of modern Russian Cossacks. As a civil so-ciety institution, it interacts with the state in different spheres: economy, social and humanitarian sphere, as well as in the protection of the country from external threats and in the sphere of internal security. First of all, this refers to Registered Cossacks who fulfill the tasks of public service. Cossack civic initiative is especially power-ful at the local level, in rural areas and small towns, in regions where the corresponding identity is strong. Inter-action with the executive and legislative authorities of the regions, local authorities, law enforcement bodies, the system of education and culture contributes to the development of civic activity of the Registered Cossacks. Non-Registered Cossacks and independent Cossack activists are active in the information sphere by creating and maintaining information resources and pages in social networks, primarily dedicated to Cossack history and traditions. In the face of external challenges and threats, it is necessary that registered and non-registered Cossacks cooperate constructively and exert a consolidating influence on Russian society.

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Amelina, Oksana. "Themes of the Cossack Prey on "Memoirs of the Odessa Society of History and Antiquities"." Roxolania Historĭca = Historical Roxolania 1 (November 13, 2018): 56. http://dx.doi.org/10.15421/30180103.

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In the article we are talking about the information capabilities of the "Memoirs of the Odessa Society of History and Antiquities" (Zapysky Odes’koho tovarystva istoriyi ta starozhytnostey) on the issue of the study of Cossack prey. This periodical contains a lot of information about one of the most interesting and debatable types of Cossack mining – captivity. Also on the pages of the Notes are posted intelligence on the interaction of Cossacks with the impoverished peoples within the Black Sea and Azov Sea, which helps in the comprehensive study of mining as a phenomenon of military and domestic culture of the Ukrainian Cossacks. Interesting and useful in the consideration of this issue is a description of the trade routes of the Cossacks, landed by the Black Sea and the Azov Sea. Based on these descriptions, we can talk about the Cossack ways of the Cossacks and the location of city-markets for sale, exchange of captured prey, including captivity.

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Chertkov, A. S. "Peculiarities of Family and Everyday Life of the Yakut Cossacks in the Second Half of the 19th – early 20th Centuries." HISTORY OF EVERYDAY LIFE 3, no. 31 (2024): 47–65. https://doi.org/10.35231/25422375_2024_3_47.

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The article, from the perspective of everyday culture, analyzes social and everyday processes that took place in the service environment of the Cossack population - Cossacks who came from Siberian cities, annexed the vast territory of North-East Asia to the Russian state, and their descendants, who made a significant contribution to the region development. Using specific examples, including archival sources and testimonies of political exiles - participants of expeditions, the author draws conclusions about the increase of the number of socially mixed marriages and formation of a more mixed-race Cossack class in the late 19th - early 20th centuries, when marriages of Russian Cossacks with Yakut women became commonplace, and people from other classes were accepted into the “Cossack rank” due to a lack of staffing levels. These phenomena contributed to the study by Russian Cossacks of autochthonous languages, the perception of traditions and customs of aboriginal tribes and clans. The studied categories of Cossack everyday life - family, housing, food, clothing - served as a basis for the Cossacks daily routine, influencing the development of this class in the historical period under consideration.

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Skorik, Alexander, and Lidia Shcherbakova. "Socio-vital Institutions of the Cossack Everyday Life: Categorical and Conceptual Analysis." Vestnik instituta sotziologii 14, no. 3 (2023): 37–52. http://dx.doi.org/10.19181/vis.2023.14.3.3.

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Numerous scientific and popular works have been written about the Russian Cossacks, and in modern Russia, interest in Cossacks as a subject of scientific analysis is growing. Presidential Decree No. 505 of August 9, 2020, approved the &amp;quot;Strategy of State Policy of the Russian Federation in relation to the Russian Cossacks for 2021-2030&amp;quot;, that emphasises &amp;quot;promoting the scientific study of the history of the Russian Cossacks, countering the falsification of pages of Russian history related to the Russian Cossacks&amp;quot;. To ensure the scientific study of the history of the Russian Cossacks, it is important to understand the system of key categories and concepts that reflect Cossack everyday life. The development of a scientific toolkit to achieve this goal requires interdisciplinary research, including turning to historical sociology and sociology of culture, conceptualising the socio-vital institutions of the Russian Cossacks, revealing the features of Cossack everyday life. Vitalist sociology, in turn, paradigmatically supports the author's scientific installation and provides an expanded categorical and conceptual analysis of the ethnocultural sphere of the life activities of Cossack communities in a cultural vitalist key. Attention is drawn to the material side of the socio-personal evolution of Cossack communities in the historical everyday life of the Russian Empire from the 18th to the beginning of the 20th century and the preservation, through commemorative practices, of the socio-vital institutions of the Russian Cossacks to the present day. The basic resource for life support is housing as a product of the creative activity of the Cossacks and a form of their territorial-spatial localisation within Cossack settlements. The cultural vitalist narrative presents traditional Cossack food, considered in a chronotopic key, positioning Cossack communities as a social group with rational consumption and at the same time external self-presentation. Historically, Cossacks have had predominant relationships with such an important resource for life support as clothing, and here we encounter profound symbolic interactionism in the self-interpretation of the Cossack costume. In other words, three key categories of Cossack everyday life are taken as an example for interdisciplinary analysis: housing, food, and clothing. This article is dedicated to their study by two scientists who have been working fruitfully in the capital of the world and Russian Cossacks, the city of Novocherkassk.

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44

Denisova, Galina, and Vitaly Kovalev. "Cossackhood in Contemporary Russia: Attaining Social Status." Vestnik instituta sotziologii 14, no. 3 (2023): 14–36. http://dx.doi.org/10.19181/vis.2023.14.3.2.

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In contemporary Russian society, a transformation of the social structure is taking place. The formation of the Cossack social group is an important aspect of this process. The revival of this social group throughout the post-Soviet period has led to polarised interpretations, ranging from characterising Cossacks as &amp;quot;costumed&amp;quot; individuals to being bearers of Russian military cultural traditions in modern society. The significance of the social status of Cossacks is amplified in the face of modern geopolitical challenges and the Russian society's search for its own identity. The aim of this article is to determine the foundations of Cossack group formation and the expectations that, from the Cossacks' perspective, are necessary for the preservation and strengthening of the group. The methodological framework of the study is based on the ideas of actor-network theory by B. Latour. The empirical research hypothesis posits that the process of Cossack group formation has undergone several stages, from recreating elements of folk culture to implementing the historical Cossack service function into the life of modern society with blurred boundaries between social strata. The involvement of Cossack military societies in the Special Military Operation has influenced the adaptation of cultural patterns related to the Cossack service function. The hypothesis was tested using a mass survey through questionnaire methods in thirteen Cossack military societies. The survey results show that the majority of Cossacks, including some non-registered Cossacks, support the main directions of the State Policy Strategy regarding the Cossacks. However, Cossacks' expectations from the state include the adaptation of traditional Cossack military service patterns to the conditions of modern society and the requirements of military service. The readiness of Cossacks to move in this direction is evident in the formation of voluntary Cossack units participating in the Special Military Operation. Nevertheless, this grassroots initiative of Cossack societies requires state resources as the dominant actor in the Cossack revival process. These resources include the establishment of Cossack units in accordance with the tradition of Cossack military service within the structure of the National Guard, a different approach to the education of youth in Cossack schools with a stronger military component, and the re-establishment of traditional Cossack camps for regular military training of registered Cossacks, among other things. Such service activities by registered Cossacks will also require the development of corresponding preferences and privileges for registered Cossacks.

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45

Bugay, Nikolay. "The Generalizing Work on History and Culture of the Cossacks (Essays on the History and Culture of the Cossacks of Southern Russia)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 4. Istorija. Regionovedenie. Mezhdunarodnye otnoshenija 21, no. 2 (2016): 159–64. http://dx.doi.org/10.15688/jvolsu4.2016.2.16.

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46

Bredikhin, Anton V. "Cossacks as a Factor of Intercultural Cooperation Between Russia and China." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 70 (2023): 18–25. http://dx.doi.org/10.37816/2073-9567-2023-70-18-25.

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Introduction: Russian-Chinese relations in the field of intercultural cooperation have a fairly wide range of contacts concerning various areas. At the same time, the interethnic factor, and especially the factor of the Cossacks in the history and modernity of China, arouses considerable research interest. Russian Cossacks have acquired the role of a bridge in the system of humanitarian relations, emphasizing their relationship with Russia, the Russian Orthodox Church, and the unified Russian culture. Methods: Through institutional analysis, the study will assess the role of the Cossacks in Russian-Chinese intercultural cooperation. Analysis: the arrival of Albazin people in China is a key moment in the Chinese vector of the history of the Cossacks, the Russian Diaspora. Having occupied a high place in society for centuries, the descendants of the Albazinians are still part of the Russian soft power in the country today. China is among the countries where Cossack emigration was sent after the Civil War of 1917–1922, and this was reflected in the historically established cultural ties of our countries. The author provides data concerning modern contacts between the Cossack societies of the Russian Federation and the Russian diaspora, cultural and scientific centers of China. The paper examines the existing approach and delivers recommendations on the assessment of international cooperation of modern Cossacks in domestic Cossack studies.

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47

Davitadze, А. G. "Ukrainian song «Ikhav Kozak za Dunaj» arranged by L. van Beethoven for piano trio and voice: genre and stylistic metamorphoses." Aspects of Historical Musicology 13, no. 13 (2018): 60–73. http://dx.doi.org/10.34064/khnum2-13.05.

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The scientifi c fi eld of the problem «folklore and composer» has a lot of aspects of its subject manifestation. One of them is the creative heritage of L. van Beethoven in the context of the composer’s addressing the folk song sources and analysis of the author’s arrangement. Although the selected theme is not a scientifi c discovery, it contains signifi cant prospects. These include: the expansion of a well-known typology of the folklore embodiment in the author’s work, the search and discovery of the Beethoven’s method of folklore arrangement, which in its turn complements the context of the already existing “psychogram of the artist” (see Varnava’s thesis, for more details). In addition, the chosen theme will help to expand the idea of musical and cultural life development in the early 19th century Objectives. The paper will consider and analyze, fi rstly, the history of writing and the subsequent fate of the author’s Ukrainian song «Ikhav Kozak za Dunaj» in European culture at the end of the eighteenth and early nineteenth centuries; secondly, harmonization of I. Prach from the «Collection of Folk Russian Songs with their voices set to music by Ivan Prach» as the one that could be known to the German master; thirdly, L. van Beethoven’s vocal-instrumental arrangement of this song in the collection «The Songs of Different Peoples» – No. 19 «Air Cosaque». Methods. The methods applied in this work are hermeneutic, structural, historiographical and genre-stylistic. The historiographical method in the article represents the problem of «composer and folklore». Hermeneutic method is universal, and its task is to interpret texts and understand their meanings. The use of the structural method is necessary for simultaneous presentation of the whole, its parts and their interaction with each other. The systematic use of the above-mentioned methods will help to enrich the analytical part and reveal genre-stylistic metamorphoses in the Ukrainian song arrangement. Results. The results of the analytical part are as follows. As the article says, the Ukrainian song «Ikhav Kozak za Dunaj» was taken by L. Van Beethoven from the Russian collection «Folk Russian Songs with their voices set to music by Ivan Prach». So, we think it is necessary to make its thorough analysis. I. Prach’s arrangement (harmonizer and arranger of this collection) is a four-voice harmonization of the Ukrainian melody. In general, the harmonic sequence in the arrangement consists of quarto-quintal basses in the left hand and chords of main degrees in the right hand. Harmonious peculiarities of the song are directly interconnected with the rhythmic component of the work, both musical and verbal. The well-known content of the song (the Cossack sets off on the horse beyond the Danube leaving his girlfriend) contains the rhythm of the pace (in this case, this is the horse’s pace), which leads to the appearance of a uniformly accented rhythm in the song – the entire melody of the song moves in eighths. In addition, piano accompaniment in the right hand part echoes the main melody, and all its structure in the form of two-voice texture moves in eighths, too. L. van Beethoven goes in the opposite direction. The process of musical arrangement occurs at all levels of musical content – from the intonation through composition to the dramaturgy. The German composer’s arrangement features phrasing slurs in violin, piano, rarely cello parts; dynamic markings, including piano, pianissimo, crescendo, diminuendo. Besides, in the cello part we fi nd the composer’s remarks on the methods of sound production, such as alternating between pizzicato and arco (as a return to the main method). Then the German master creates a great instrumental part for the song – introduction and conclusion. The introduction of a non-square, monolithic structure has an unfi nished character and ends with a dominant harmony before the basic a-moll tonality. The fourth stanza is complemented with a three-bar expansion (instrumental break) on the introduction material, but it is a bit modifi ed – it is a pattern in the form of three subsequent segments of the descending motion (melodic and harmonic complex). This addition is made in the form of instrumental breaks after imperfect cadence, and after that come 12 bars of trio-conclusion. In general, the form of the song is a long period of two sentences of the verse-chorus structure a – C – a (a tonal plan). The instrumental part of the song makes up 29 bars, and the vocal one – 16 bars, so the proportions are actually closer to the defi nition of 2:1, which indicates a signifi cant role of the trio-accompanient (46 bars overall). The thorough analysis of the instrumental part of the whole song reveals the following: the arrangement has fi ve motifs and thematic elements, three of which belong to L. van Beethoven: «E – F – E» lamenting motif, quarto-quintal response to it – «E - A – B» or «E - B – C», and the last one, which gets its development at the end of the fi nal part of the trio accompaniment in somewhat varied form (melodic variation): «Gsharp - A – G» and the response «G-sharp - A – D». The other two – melodic pattern «E – G-sharp - E – G-sharp» (pedaling of the dominant function) and descending tetrachord between the third and seventh ascending degrees («C - A – G-sharp») – belong to the author of the Ukrainian song Semen Klymovsky. These motives are combined into dialogical formulas. This can be explained by the content of the song lyrics, where there are several characters, who the Cossack addresses in a virtual dialogue – this is his girl, and also his true companion – the horse. A deeper dialogue can be seen in the combination of classical and folk arts. Adding professional academic means of musical expression to the song the composer enriches his piece with classical stylistic attributes. When he elaborates genre features of lament in the song, he turns the Ukrainian song into a kind of arioso in German language. Conclusions. L. van Beethoven’s arrangement was primarily intended for homemade music, but at the same time, it is imbued with features of classical style, and its elegy, intense sensory lyricism refer the researcher to the Romantic period, which turned out to be close to the consciousness of the Beethoven’s genius. However, the nature of the fi ndings remains open, because the theme «Beethoven and folklore» is the subject of further research. In addition, special attention should be paid to other arrangements of the song «Ikhav Kozak za Dunaj», created both by L. van Beethoven and his contemporaries.

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48

Ushmaeva, K. A., and A. S. Goncharov. "HISTORIOGRAPHY OF HISTORY OF THE STAVROPOL COSSACKS: KEY ASPECTS OF STUDYING THE REGIONAL COSSACK GROUP’S PAST." Vestnik scientific and methodological council in environmental engineering and water management, no. 22 (2021): 50–62. http://dx.doi.org/10.26897/2618-8732-2021-22-50-62.

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This study is devoted to the study of relevant works on the history of the Stavropol Cossacks, works in the field of education of the Stavropol Cossacks as an independent Cossack group, trade, cultural and economic ties in the Stavropol Territory, spiritual life, language, culture, traditions and customs of the Stavropol Cossacks. Among modern studies in the history of the Stavropol Cossacks, the following topics stand out: military life and everyday life, folklore and song traditions, the movement for the revival of the Cossacks, as well as the current state and prospects for the development of Cossack organizations. The prospect of the development of pedagogical technologies based on the Cossack traditions of educating young people in Stavropol is highlighted as a separate topical topic. The relevance of the study lies in the need for a private study of the historiography of the regional Cossack group of Stavropol Cossacks in order to expand the scientific and pedagogical tools in the field of «Cossack studies». The practical significance of the study is expressed in the possibility of using the data of the article in the search for supporting material for teaching the "History of the Cossacks" in a higher educational institution (taking into account the regional specifics). The scientific novelty of the research is expressed in a new view of the Stavropol Cossacks as an independent Cossack group formed at the end of the XVIII century. The source base is represented mainly by archival data from the State Archives of the Stavropol Territory, data banks on archaeological, cultural and linguistic expeditions, sources of personal origin, the works of contemporary historians and directly the works of historians, whose studies formed the basis of the historiography of the history of the Stavropol Cossacks. The research methodology is based on the principles of historiographic comparative studies and comparative analysis of sources. Within the framework of the sociocultural approach, we rely on the following methods. Special-historical: the narrative method, the historical-comparative method, the historical-systemic method, the retrospective method. Sociological: document analysis, method of generalizing characteristics, method of ideal types. Culturological: comparative method, cultural-systemic method. Pedagogical: pedagogical interviewing, a method of studying and generalizing pedagogical experience.

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49

Ushmaeva, K. A., and A. S. Goncharov. "HISTORIOGRAPHY OF HISTORY OF THE STAVROPOL COSSACKS: KEY ASPECTS OF STUDYING THE REGIONAL COSSACK GROUP’S PAST." Vestnik scientific and methodological council in environmental engineering and water management, no. 22 (2021): 50–62. http://dx.doi.org/10.26897/2618-8732-2021-22-50-62.

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This study is devoted to the study of relevant works on the history of the Stavropol Cossacks, works in the field of education of the Stavropol Cossacks as an independent Cossack group, trade, cultural and economic ties in the Stavropol Territory, spiritual life, language, culture, traditions and customs of the Stavropol Cossacks. Among modern studies in the history of the Stavropol Cossacks, the following topics stand out: military life and everyday life, folklore and song traditions, the movement for the revival of the Cossacks, as well as the current state and prospects for the development of Cossack organizations. The prospect of the development of pedagogical technologies based on the Cossack traditions of educating young people in Stavropol is highlighted as a separate topical topic. The relevance of the study lies in the need for a private study of the historiography of the regional Cossack group of Stavropol Cossacks in order to expand the scientific and pedagogical tools in the field of «Cossack studies». The practical significance of the study is expressed in the possibility of using the data of the article in the search for supporting material for teaching the "History of the Cossacks" in a higher educational institution (taking into account the regional specifics). The scientific novelty of the research is expressed in a new view of the Stavropol Cossacks as an independent Cossack group formed at the end of the XVIII century. The source base is represented mainly by archival data from the State Archives of the Stavropol Territory, data banks on archaeological, cultural and linguistic expeditions, sources of personal origin, the works of contemporary historians and directly the works of historians, whose studies formed the basis of the historiography of the history of the Stavropol Cossacks. The research methodology is based on the principles of historiographic comparative studies and comparative analysis of sources. Within the framework of the sociocultural approach, we rely on the following methods. Special-historical: the narrative method, the historical-comparative method, the historical-systemic method, the retrospective method. Sociological: document analysis, method of generalizing characteristics, method of ideal types. Culturological: comparative method, cultural-systemic method. Pedagogical: pedagogical interviewing, a method of studying and generalizing pedagogical experience.

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50

Munteanu, Luminita Heliana. "Musical Culture, a Finality of Musical Education." Procedia - Social and Behavioral Sciences 46 (2012): 4195–99. http://dx.doi.org/10.1016/j.sbspro.2012.06.225.

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Journal articles on the topic 'Musical culture of the Cossacks'

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