Journal articles: 'National songs, Ukrainian'

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Syvachuk, Natalia. "THE CONCEPT OF «NIGHTINGALE» AND MENTAL FATE OF UKRAINIAN PEOPLE." Philological Review, no. 1 (May 31, 2021): 185–95. http://dx.doi.org/10.31499/2415-8828.1.2021.232738.

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The article deals with the nature of the concept of «nightingale» in Ukrainian folk oral poetry, in particular in lyrical songs, love songs. «Nightingale» is considered as a traditional symbolized object of Ukrainian poetic worldview, as a «key» character in the context of the national picture of the world; it is emphasized that in the XXI century the processes of integration of sciences are intensified; the similarity of the rhythmic structure of nightingale song and human speech is explained. For this purpose, the data from recent studies by ornithologists have been used. Attention is drawn to the fact that nightingale strengthens the mood of people in love with his singing. In love songs, man and bird sound in unison, thus creating a state of happy heavenly harmony – a special interaction of man with the environment. The data of ornithologists’ researches on the genetic connection of man with the sounds made by birds are given. An analogy is made between the creative potential of man and nightingale, between their repertoires, the sequence of works performing, their architectonics «introduction – refrain». An attempt to scientifically comprehend the impact of nightingales on humans and their health is made. It is concluded that the concept of «Nightingale» in Ukrainian folk oral poetry belongs to the «key» invariant characters-symbols and is an important component of Ukrainian national view of the world. The character of the nightingale is pervasive in Ukrainian folk songs about love. The voice of a bird in the minds of Ukrainians is associated with strong emotions: joy, love, sadness, grief, despair and others.

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Osypenko, V. "Ethnoaesthetics of the Ukrainian folk song tradition in the performance of the singer Oksana Mukha." Culture of Ukraine, no. 72 (June 23, 2021): 124–30. http://dx.doi.org/10.31516/2410-5325.072.17.

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The topicality is associated with the need for musicological understanding of the value categories of ethnoaesthetics in the creative activity of singers that represent the Ukrainian folk song tradition in modern variety vocal art. The purpose of the article is to identify ethno-aesthetic value components in the performance of O. Mukha as a personification of the uniqueness of the Ukrainian national expression. The methodology consists of scientific works of prominent Ukrainian scientists devoted to the study of ethno-aesthetic ideas and criteria in the traditional songs of Ukraine (Y. Harasym, T. Orlova, V. Lychkova), as well as genre-style and performance specifics of Ukrainian musical folklore (K. Kvitka, F. Kolessa, A. Ivanytskyi, S. Hryts). The results. The artistic imagery of the iconic folk songs of O. Mukha repertoire, which is a part of the ethno-aesthetic fund of the Ukrainian folk song tradition, is considered. The general features of ethnoaesthetics of the folk song performing tradition of Ukraine, including its vocal and technical component are outlined. The novelty. The article considers the performance of O. Mukha for the first time and reveals ethnoaesthetic value components in it. The practical significance. The study of the essence of folk singing as an art with its own artistic and value component, based on an established system of qualitative components of ethnoaesthetics, as well as the study of performing experience of prominent Ukrainian folk singers are the necessary practical material for creating a scientific basis and general methodology of folk vocal art. The conclusions. Musical ethnoaesthetics as a component of traditional culture covers the semantic field of songs, concentrating on the structure, rhythmics and size of a poem, the richness of national melos, its intonation and tonality basis. Ethnoaesthetics of the folk song tradition of Ukraine is manifested in the uniqueness of the national expression, namely: vocal-timbre color of sound, in the peculiarities of intonation, freedom of metro-rhythmic movement, variability and melismatic richness. In O. Mukha’s works, the creation of the sound matter of the modern performance version of a folk song is based on the perception of song intonation as sound emotion and understanding of the boundless ocean of ancient symbols of the national musical language, which during centuries has crystallized in the folk song tradition. Her works grow out from the reflection on the national song culture and traditions of her family. Work on each ancient relict of tradition is based on discovering the potential of the power of its aesthetic, spiritual and emotional impact on listeners, perception of the stock of expressive possibilities.

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NABOK, Maryna. "ETHNOTYPE OF HEROES IN UKRAINIAN NATIONAL DUMA AND KURDISH NATIONAL SONGS." Ethnology Notebooks 149, no. 5 (October 22, 2019): 1185–90. http://dx.doi.org/10.15407/nz2019.05.1185.

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Szurmińska, Hanna. "THE LITERATURE GROUP „ZEWONIA” HISTORY AND FOLKLORE." Polish Studies of Kyiv, no. 35 (2019): 424–27. http://dx.doi.org/10.17721/psk.2019.35.424-427.

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The article analyses the group of writers «Ziewonia», in the work and activities of which Slavophile ideas have strengthened through cycles of translations, songs and dumas. It reveals interest in the culture of the Slavic people in the 30s of the 19th century. It analyses the idea of national identity and ethnic culture using a differentiated approach to the phe- nomena of literary folklore, which becomes the main motive of «Ziewonia». The level of Ziewonia’s comprehension in Polish science is not significant yet but still to be more learned than in Ukrai- nian science. The article is said about the first period of the XIX century which is characterized by emergence of artistic achievements as exemplified by the interaction of intercultural literature. The Romantic era encouraged the first contact and special activity of folk Ukrainians interested by young Polish writers who are called in the Polish history of literature «Ziewonia». The main representatives were Augustin Bielovsky (the critic and translator, the employee of the Ossolineum institution), Josef and Alexander (Leshek) Dunin-Borkovsky (writers and critics), Lucian Semensky (the poet and novel- ist), Kazimiezh Vladislav Wojcicky (collector of folk songs) and Ludvik Jablonsky (also the critic of Ukrainian literature), finally the Ukrainian writers called the «Russian Trinity», the organization which united enthusiastic researchers of Ukrainian folklore. It is found out that main activities of this Slavophil group were translation and popularization of literature merits. They gave exemplary translations of important Slavic works such as: «Krolodworsky Manuscript», «Zielona Gora Manuscript», selected sonnets from «The daughters of Kollar’s fame», the significant number of Serbian folk songs, many Ukrainian poems and «The Tale of Igor’s Campaign». Folk society and folk songs were glorified and stylized. The key findings of the research prove that deep and intensive relationships between different literacy circles (Ukrainian and Polish) collaborated the future mutual writer’s group for the next historical period.

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Nabok, Maryna. "Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication." PSYCHOLINGUISTICS 24, no. 2 (October 3, 2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.

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The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries. The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category. The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time. These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.

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Tymoshenko, A. V. "Comprehension of specifics of lyricism in Ukrainian and French songs as a component of work with the students-vocalists of Popular Music and Jazz specialization." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 74–91. http://dx.doi.org/10.34064/khnum2-14.06.

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Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in France. On the other side, there are no special researches devoted to incarnation of lyricism in different cultures of pop singing based on their comparison. The objective of research is to reveal specifics of lyricism in Ukrainian and French songs and to apply the results received to the of work with the students of Popular Music and Jazz Department. Methods. To reach that objective, eight songs have been considered. Although these songs belong to different cultures (Ukrainian and French), they are bound the similar plot basics; they pertain to love poetry, and each of them in some way embodies themes of detachment, remembrance, confession of love etc. The main aspect taken into consideration was whether the song leans towards open expression of feeling or no, when the feelings of lyrical hero (even very strong) are kept inside him; and in what way that correlates with the song being French or Ukrainian. Results. Having considering these songs, we were able to state similarities and differences between them. The song “Kohana” (“Beloved”) combines lyrical extraversion with optimistic mood. Plentiful hints about future allow understanding of this song as an open declaration of joy, caused by mutual love. Hence, firm belief in happy future should be represented with active and strong voice. Contrary to that, the song “Ochi voloshkovi” (“Cornflower-blue Eyes”) directs into the past as a reminiscence of pleasant days of happiness. Clearly defined initial nostalgic mood gradually shifts into a tragic one as it becomes clear, that hero’s hopes for future cannot be fulfilled. In this case, emphatic affirmative intonation would be perceived as an illusion. The song “Kvity romena” (“Flowers of chamomile”) represents another pole of Ukrainian songs as it lacks tragic mood or confessions. The text of the song hasn’t any conflicts, and that causes “unproblematic” performing tone. The poetic text differs from the previous two songs as it relies less on a parallelism between nature and state of the soul and uses more complicated methods, such as assonances and more elaborated system of metaphors (the chamomile, initially standing for the soul of the hero, later becomes a symbol of love). Overall, this song characterizes not by “experiencing”, but by representation. The main motive of the song “Dead Leaves” (“Les feuilles mortes”) is remembrance, but not only of the past times, but also of the song, which the lyrical hero used to sing with his beloved. The structure of “Les feuilles mortes” is quite original as it consists of two parts: introduction with clearly defined speech basis, and the main part, where vocal plays bigger role. This reminds of traditional opera form “Recitativo e Aria”, where both parts might be not joined by the same thematic material. “Les feuilles mortes” doesn`t bear conflict as the idea that love cannot be returned is accepted rather calmly, without outburst of lamentation. The “flow” of music is rather smooth as it lacks sudden modulations and unusual intonations; that creates an atmosphere of tranquil reminiscence. The opposite attitude about love is enshrined in the song “The snow is falling” (“Tombe la neige”), where the snow stands for cold and dispassionate reality as well as of the state of soul of lyrical hero. The unity of these meanings is emphasized in the words “Blanche solitude” (“White solitude”), and their opposition – in the contrast of desperate cry and indifferent descent of snow. The melody of song is quite special as it has a pause after each line that creates the effect of woeful sighs. The simplicity of the harmony emphases relentless despair of the hero; thus, the song demonstrates an example of “limitation of expressive possibilities”. In the song “Nathalie” lyricism is combined with narrative features as the song is, basically, the recital of the story of the visit of the French tourist to the Moscow during the Soviet era. Here, the sound-painting is used: to portray the party of Russian students, the orchestra resembling Russian folk instruments is used and gradual acceleration of the tempo creates an allusion to traditional Russian dances. In the last part of the song potentially dramatic phrase “My life appears empty” doesn’t cause culmination as it would do on Ukrainian song – solitude taken just as fact of reality. The conclusion is drawn that the lyricism of Ukrainian songs is mostly inclined to the “pure” type with its open emotionality, and that of French songs – by the synthesis with another moduses of expression (such as narrative, pondering, reminiscence etc.). This difference is visible even more due to the similarities of the poetic texts. The Ukrainian songs usually have more opened form of emotional expression, with illusion of “experiencing”, while the French songs are marked by quite reserved feelings or usage of the change of their intensity as a mean of expression. In the latter case, expressiveness is reached often by another means, which often require more intellectual perception (complicated and refined poetic symbols, music closely following the text, poetic techniques etc.). Although of considered song groups includes those seemingly negating these conclusions (“Kvity romena”, “Tombe la neige”), they can be regarded as exceptions from the general rule that is inevitable and natural in the functioning of “living” artistic culture. Nevertheless, both national cultures share understanding of lyricism as expression of feelings. Comprehension of specifics of lyricism in Ukrainian and French songs will allow the students in their practical work to choose the degree of revealing of emotions suitable to the essence of the performed songs; that, subsequently, will result in the performance being stylistically loyal. At the same time, similarities in interpretation of lyricism allow to overcome any cultural or language barriers.

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Інна Терешко and Лариса Пшемінська. "M. LEONTOVYCH’S WORK OF FOLKLORE IN THE CONTEXT OF THE NEW UKRAINIAN SCHOOL." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (September 4, 2020): 128–35. http://dx.doi.org/10.31499/2307-4906.4.2020.224180.

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The methodical concepts of organization, recording, processing and documentation of folklore by the outstanding Ukrainian composer, conductor, teacher Mykola Leontovych are defined in the article. The artist's interest in folk songs is revealed, and his purposeful work as a recorder of folk melodies is studied. The composerʼs approaches to collecting, studying and popularizing the folklore of Ukraine are defined. The memories of friends and students, which reveal the composer’s and folklore activities, are analyzed.Much attention is paid to the definition of individual perception, techniques and methods of presentation of folklore in the professional activities of M. Leontovych, in particular, describes the diverse and multilevel system of the composerʼs creative approach to folk songs and outlines the leading role of folklore in music and aesthetic education. The article considers the national originality of M. Leontovych’s choral music, reveals the close connection of the composer’s activity with the rich folk song culture of Ukraine, highlights the composer’s innovative approaches to the embodiment of folklore in Ukrainian music, traces the artist’s influence on the development of the choral miniature genre. The paper presents a creative understanding of the folk song heritage of the composer and the use of its best examples in the education and artistic training of todayʼs young generation. Some aspects of the development of professional skills of future teachers of music are highlighted. The use of certain forms, methods, techniques of educational activities contribute to the formation of studentsʼ readiness to use arrangements of M. Leontovychʼs song folklore in modern secondary schools in the context of the New Ukrainian School.

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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.

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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.

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Бокало Ірина. "МОТИВИ ВТРАТИ ВІНКА В УКРАЇНСЬКИХ НАРОДНИХ ПІСНЯХ ПРО КОХАННЯ." World Science 2, no. 2(42) (February 28, 2019): 46–51. http://dx.doi.org/10.31435/rsglobal_ws/28022019/6361.

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Ukrainian folk love songs as one of the most relevant genres have retained a lot of information about the norms of ethics and morals of the Ukrainian youth at the end of the XIX - early ХХ century. Particularly interesting are texts which contain information about the loss of maiden innocence, are reflected in the motifs of wreath loss. In folk love songs with the motifs of wreath loss, often are being used images-symbols of a wreath, braids, weed field, destiny. National aesthetics rarely judge girl who committed such a moral crime, but mostly sympathizes with her, uses the examples of such situations to warn young people from committing such offenses.

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Boldyrev, Volodymir. "A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.

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Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.

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Rusina, Vlada. "Traditional Ukrainian songs as performed by folk choirs of ‘Sloboda’ Ukraine." Journal of Education Culture and Society 4, no. 1 (January 12, 2020): 236–42. http://dx.doi.org/10.15503/jecs20131.236.242.

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In the context of the worldwide globalization processes the issues pertaining to the quest for national identity acquire a particular signifi cance. This is true in the case of Ukraine as a newly-independent state in the establishment and consolidation phase.In the conditions marked by a general obliteration of folk customs and traditions it is folk amateur choirs/gatherings (hurts) that often become vehicles of folk culture. This study pres-ents rare records of traditional Ukrainian songs, some of them dating back to the 19th century, which the author made in the course of several fi eld trips.

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Sribniak, Ihor. "Ukrainian amateur theatre at the internment camp of the UNR army in Strzałkowo, Poland, as viewed by theatrical critics in August 1921 — July 1922 (according to the materials of the journal Promin / Sunbeam)." Synopsis: Text Context Media 26, no. 2 (2020): 48–60. http://dx.doi.org/10.28925/2311-259x.2020.2.5.

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The aim of the study is the understanding of the theatre role for formation of spiritual and ideological ideals of interned soldiers. This involves analysis of the amateur circle repertoire and critical reception of plays as well as reconstruction of value motivation of Ukrainian military groups. The historical method, source analysis and synthesis have been used for this purpose. The results of the study showed that the theatrical performances were prepared by several artistic and actor groups (repertory companies), and the informal competition took place between them. Such situation formed the tradition of critical appraisal of the theatrical plays and their publication on the pages of the camp “live” newspaper “Promin”. It is worth mentioning that critics did not miss the opportunity to show the negative sides or, contrarily, praise the actors’ training and stagecraft during the performances. Theatrical stage performances of camp drama and art groups had a significant importance in boosting morale of the interned soldiers as well as satisfying their nostalgic feelings for their homes and native land. The majority of theatrical plays were nationally aspired by the context and spirit (all the dramas were prepared for the stage production in Ukrainian), which thus promoted the spiritual consolidation of the interned warriors. Importantly, camp residents were seeking and finding their own creative ways for the representation of their art pursuits, contributing to the treasury of the Ukrainian and global culture. The significance of the Ukrainian theatre in Strzałkowo is based on the notion that thanks to the mastery performance of amateur actors as well as the Ukrainian songs as supporting music for the theatrical plays, Polish society gradually became to acknowledge positively the Ukrainian National Republic and Ukrainians as the integral part of the European political, national and cultural environment. The article novelty is connected with introducing the information about amateur theatre circles of internal soldiers and critical reception of their activities. The practical significance of the research is that its results prove the longevity of the Ukrainian dramatic tradition.

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PIRKO, Mariia. "PUBLISHING PROJECTS OF THE STATE SECRETARIAT OF THE WEST UKRAINIAN PEOPLE’S REPUBLIC." Ukraine: Cultural Heritage, National Identity, Statehood 31 (2018): 79–87. http://dx.doi.org/10.33402/ukr.2018-31-79-87.

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This article analyzes the specifics of publishing projects of the Government of the West Ukrainian People’s Republic. These projects represented the state-building, political, legislative and organizational work of the State Secretariat. Publishing products were irregular and often had little circulation as well as limited amount of readers, because they were printed in the conditions of political divergence of the government, economic and social difficulties, and military confrontation. The publications of the State Secretariat were divided into three groups: official publications (bills), Ukrainian periodicals (magazines), various literature (calendars, books of songs, sociopolitical issues), which until now have not been properly highlighted in historiography. The author characterized format, content, and thematic orientation of the editions as well as their impact on the formation of the national outlook of the Ukrainian people and the development of the cultural and educational movement in post-war time. Keywords West Ukrainian People’s Republic, State Secretariat, publishing, Orest Kuzma, calendars, national-patriotic idea.

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Chemenyan, Gayane. "Methodology of mastering Ukrainian song folklore in the process of training future teachers of Music." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 109–15. http://dx.doi.org/10.24195/2617-6688-2019-4-14.

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The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.

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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

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Mekh, Nataliia. "«Natalka Poltavka» by Ivan Kotlyarevsky in the Ukrainian linguistic and cultural space." Culture of the Word, no. 91 (2019): 57–65. http://dx.doi.org/10.37919/0201-419x-2019.91.5.

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The article attempts to look at Natalka Poltavka's play in a broad linguistic and cultural dimension. The work is considered as the first attempt in a new Ukrainian language to speak about Ukrainian truthfully, brightly and wisely. Particular attention is paid to songs of drama that live separate artistic lives. The importance of the work of I. Kotlyarevsky for the musical realm, in particular, the opera of Mykola Lysenko based on the play "Natalka Poltavka" as a landmark event in the Ukrainian cultural space, is considered. Natalka Poltavka Opera is a real pearl of Ukrainian music. It clearly reveals national life, typical characters and traditions thanks to the folklore-based music. Key opera songs have long gone beyond it and are perceived in various parts of the world as symbols of Ukrainian culture. Natalka Poltavka is the first work of the new Ukrainian dramaturgy, combining signs of sentimentalism and educational realism. At the time when the play was written, sentimentalism began to develop rapidly in European literature, which was characterized by the desire to recreate the world of the feelings of the common man and to evoke sympathy for the heroes of the work. We notice these tendencies in drama, watching I. Kotlyarevsky appeal to human feelings, focusing on their strength, sincerity and depth. Respect for moral purity, spiritual strength, popular wisdom and language, love and respect for ordinary people are all we see in Ivan Kotlyarevsky's talented play.

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Tymoshenko, A. V. "The embodiment of mater’s archetype in song genre (on repertoire material by master students of Popular Music and Jazz Department)." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 153–66. http://dx.doi.org/10.34064/khnum2-13.12.

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Background. The Mother has always been one of the most popular images in art. A woman giving birth to another human being and caring for it has always been in a focus of attention of artists and philosophers. From this standpoint, the mother is defi ned as an “eternal theme” [3], on the one hand, and as archetype on another one [1; 2]. That allows methodists of primary education to create lessons, devoted to the fi gure of the mother in different arts [7], thus explaining unknown (peculiar features of every art) through well-known (attitude towards mother). In the music, including popular music, the image of The Mother can be found extremely often, as the list of performers whose heritage includes at least one song about his mother, seems to be infi nite; moreover, it consists of the artists representing different national traditions and styles. But the usage of the works of pronounced theme at the highest level of musical education has received neither methodical nor scientifi c development, regardless of including these songs into the repertoire of the students’ programmes. The realm of the music can serve as an undeniable evidence that the music is full of images of maternity: both in religious works (“Ave, Maria” by Schubert and Bach- Gounod), “Vergin tutto amor” by Durante, “Bogoroditze devo raduysa” by Rachmaninov, Yanchenko and others) and in secular (the roles of Santuzza in “Cavalleria Rusticana” by Mascagni, Cio-Cio-san in “Madama Butterfl y” by Puccini, Russian romances by Gurilyov (“Matushka-golubushka”), Varlamov (“Krasnyi Sarafan”). This list could be continued. The accessibility of the image of the mother to every child, its open emotionality make it extremely suitable material for learning the basic principles of art by the children. B ut at the highest level of education, such usage of achievements of culturological and psychological science can scarcely be seen. Although the lack of methodical and theoretical cognizance of given problem does not exclude the usage of songs that feature the theme of maternity, in one way or another, or the attitude towards the parents, in the educational process. Although the main part of the repertoire performed by students of the Popular Music and Jazz department is oriented at the Western-European and American music, the traditions of education don’t allow to exclude the Ukrainian music from the programme. As the experience shows, it is easier to work on this material – for three main reasons. The fi rst one is the accessibility of the Ukrainian language (both for memorizing and for pronunciation), the second one lays in the fact that Ukrainian songs seem to be perceived more emotionally (that is a prerequisite of a successful work on a composition), and the third one is that the students are often familiar with the Ukrainian songs (both with the melody and the lyrics) even before they start working on them, because they widely distributed in the popular culture. The image of The Mother is among the most often used in the Ukrainian songs. It is featured in the folk songs as well as in academic and popular music, connected with the principles of Ukrainian song intonational features. The one of the most popular song from the latter group is “Pisnya pro Rushnyk” (music by Platon Mayboroda, lyrics by Andriy Malyshko). When it was written in 1958, its popularity skyrocketed (it was even broadcasted by the Voice of America [6]), and it is still widely known. This makes stated song a suitable repertoire for learning the traditions of popular vocal craftsmanship. The lyrics feature some stable motives causing the dominance of the lyric expression. These motives are the retrospection (as all the events of the song are placed in the Past), separation with the mother, and her everlasting love. All the things stated above and slow, somewhat solemn but enlightened melody makes it perfectly clear what emotional state is needed for this song – because the archetype character of the image of The Mother makes it easily perceptible by almost everyone. The objective of this research lays in the revealing of the signifi cant role played by the image of mother in the repertoire of students of the Popular Music and Jazz department and in generalization of typological features of these songs. Methods. In order to reach those objectives, several methods have been used: genre and style analysis, analysis of lyrics and music and their relevance, compositional analysis. Results. The image of The Mother, that is an archetype by itself, has been rece iving its incarnation throughout all known history of humanity, thus acquiring a features of “eternal theme”. The fi gure of the mother (both in the religious and secular meaning) has been portrayed in academic music, in popular one and in the folklore. Generalizing the results of observances, we can conclude, that the songs featuring the image of the mother are characterized by the dominance of the lyrical mode of expression and sincere emotionality. They often have a retrospective view, naturally caused by belonging of the mother to the older generation than her children. As a repertoire of students of the Popular Music and Jazz department the songs about the mother can serve as a material suitable, on the one side, for developing technical and performer skills; and on the another – its content is mostly accessible for open emotional reception, that makes it much easier to work at. Typological features of “the songs about the mother” that have been revealed in this research, do not become cliché as they are different in the language, in the character, and in the nuances of content. Practical signifi cance. The results of this research can be used as methodical recom mendations on the choice of the repertoire of the students and the work on it. Various advices have been given both on musical and verbal aspects of analyzed songs.

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Radkevych, Y. "The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 101–18. http://dx.doi.org/10.34064/khnum1-52.07.

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Background. Turning to the original sources of Ukrainian musical culture, we should point out the greatest achievements that appear to be the folk-song tradition. The problem of authorship of musical folklore was not considered for well-known reasons: its decisive features are oral, anonymous, collective way of creation. If the phenomenon of authorship is present in various manifestations of musical creativity (composing, performing, directing, etc.) and works in various forms of musical art of the past and present, today the study of the role of the singer as a co-author in the contemporary representation of Ukrainian folk song has not yet become a subject of a special scientific interest. The stated problem opens the prospect of developing the interpretation science as a science of the phenomenology of the artist’s creative personality in various artistic discourses. The urgency of the topic is to study the peculiarities of the representation of Ukrainian folk songs in the contemporary concert repertoire on the example of the activities of the iconic representatives of the national culture: Kvitka (Kacey) Cisyk, Nina Matvienko, and Taras Kompanichenko. Objectives. The purpose of the research is to substantiate the role of the singer as the co-author in representing the Ukrainian folk song in the contemporary concert and artistic space on examples of multi-genre patterns (folk song, song-romance, spiritual chants). Methods. The methodology of the research is based on the genre, structurally functional and interpretive scientific approaches. Results. In order to highlight the peculiarities of the representation of Ukrainian folk songs in the concert and artistic space of today, within the framework of the scientific article, let us dwell on the consideration of the following genres of folk song: folk song, song-romance, and chant. In the unique performance by Kvitka Cisyk (1953–1998) of the chosen folk song “Verse, my verse” the singer appears as the co-author of the song. As one knows, this folk song has no authorship (being an example of the collective folk-song tradition). The level of co-authorship of the singer can be defined as the one corresponding to the traditional performance (the performer as the author). Another example considered is G. Skovoroda’s “Every City Should Have Its Character and Rights” in two versions (N. Matvienko and T. Kompanichenko) and two genre dimensions. Thus, in the detailed analysis of the sample, it can be argued that in the performance of N. Matvienko it sounds like a song-romance, and T. Kompanichenko’s interpretation makes clearer its genre attribution as a spiritual chant (the ethical basis). The song-romance performed by N. Matvienko appears as a bright theatrical performance. The singer represents the song in an elegant manner, appealing to the style basics of the musical baroque. In the instrumental accompaniment of the Ensemble of Ancient Music of K. Chechenia (Konstantin Chechenia), the baroque sound-ideal of the court secular culture was embodied. N. Matvienko, as the co-author of this composition, refined the baroque sounding (the deep understanding of the verbal text by G. Skovoroda, organic in the embodiment of the aesthetic and musically-immanent principles of the baroque style). “Every City Should Have Its Character and Rights” performed by T. Kompanichenko is characterized by such features as: 1) the introvert nature of the expression as a notable feature of the kobza-lyre tradition; 2) the interpretation by the performer of the “Skovoroda” song as an example of the spiritual chant (the correspondence of the repertoire of the traditional singing); 3) the organic and indissoluble nature of the vocal and instrumental components (singing performance (spivogra) as an attributive quality of the kobza-lyre tradition). Conclusions. The role of K. Cisyk as the co-author of the folk song “Verse, my verse” is evidenced in the fact that the singer managed to reach the level of the standard of interpretation of Lemko folk song, as much as possible tending to perform the song without any change. The subtle feeling of Ukrainian melody with the introduction of the contemporary sound (the high artistic orchestral arrangements by J. Cortner) is stated as a manifestation of the national sound ideal (according to O. Bench). In N. Matvienko’s performing interpretation of the song-romance “Every City Should Have Its Character and Rights” in the framework of the modern concert stage (with the sound of timbres of unique Ukrainian baroque musical instruments), the national baroque style constants (the concept of “the world as a theatre”) became more visible. The performing interpretation by T. Kompanichenko is aimed at the completeness of the disclosure of the concept of the composition as an ideological and aesthetic orientation of the kobza-lyre tradition. Without violating its style basics, the singer, as the co-author of the composition performed, appears to be the driving force behind the enrichment and development of the established stylistic principles of the kobza-lyre tradition. The provided multi-genre samples performed by the iconic representatives of the national culture are based on the established tradition of folk song and express the integrity of the creative personality of the performers as bearers of the spiritual tradition of ethnic culture. The prospects for further research in this direction may be related to the study of the iconic phenomena of the performing music culture of Ukraine, which find an appeal in the socio-cultural and research space of today

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Danyliuk, Nina. "Linguistic world view in the poetic texts of Lesya Ukrainka’s collection “On the Wings of the Songs”." Ukrainian Linguistics, no. 47 (2017): 63–78. http://dx.doi.org/10.17721/um/47(2017).63-78.

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The article deals with the study of the artistic expressive means of the creation of a linguistic world view in the poetic texts of Lesya Ukrainka’s collection “On the Wings of the Songs” (Lviv, 1893). The materials of the lexicographic work “Dictionary of Lesya Ukrainka’s Language (on the basis of the collection “On the Wings of the Songs”)” in 2 volumes (Lutsk, 2012, 2016) were applied in the study. The nouns used in the microtexts of the dictionary give an opportunity to imagine Lesya Ukrainka’s linguistic world view which was modeled on the basis of key words. Lesya Ukrainka’s linguistic world view is formed by the names of kinship (мати (матінка, матуся), мама, ненька, отець, син (синонько), дочка, дід (дідусь), дитя, дитина (дитинонька), діти (дітки), онуки), plants (верба, дуб, тополя, сосна, калина; барвінок, рожа (роженька), рута, любисток, конвалія, льон), animals and birds (кінь, козеня, корова; голубка, соловейко, чайка), celestial bodies (зоря, зірка (зіронька), місяць, молодик), changes in nature (зима, літо, день, дощ, вітер), geographical objects (балка (балочка), бережок (бережечок), яр (ярочок), гора, круча, бескид; бір, гай, діброва, ліс, луг; річка (річенька, річечка), море), places of living (хата, будинок), utensils (колиска), прикрас (вінок, кораль), traditional ceremonies and their participants (дівич-вечір, молода, староста (старостонька), дружка, кобзар, лірник), abstract notions (бажання, біда, воля, добро, доля, дух, душа, жаль, журба, мрія) and etc. The analyzed fragments of the Ukrainian national linguistic world view reflect the ethnic linguistic thinking of Lesya Ukrainka and prove that she was a Ukrainian. The data gathered in the “Dictionary of Lesya Ukrainka’s Language” compiled on the basis of the collection “On the Wings of the Songs” enable scholars to study an individual linguistic world view.

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Sorochuk, Ludmyla. "CULTURAL AND EDUCATIONAL MISSION OF MYKHAYLO VERBYTSKY IN THE CONTEXT OF NATION-BUILDING." Almanac of Ukrainian Studies, no. 26 (2020): 77–81. http://dx.doi.org/10.17721/2520-2626/2020.26.11.

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The creative activity of Mykhailo Mykhailovych Verbytsky, as one of the brightest representatives of the national elite of the period of the Ukrainian cultural revival of the XIX century, was traced. The importance of the social-cultural mission of the artist, a priest of the Greek Catholic Church, a public figure, the founder of professional music in Galicia and the founder of the national school of composition in Ukraine was emphasized. A representative of the artistic elite, the famous composer M. Verbytsky was a model of professionalism in music and, very importantly, a bearer of national and cultural ideas. The article raises the question of the significance of the creation of the anthem song "Ukraine is not dead yet": the words of P. Chubynsky, the music of M. Verbytsky. The famous musicial composition, the words and melody of which united more than one generation, united Ukrainians around the world, influenced the formation of identity and awakened national consciousness. Working on the creation of a majestic song, the authors realized that the songs-hymns encode political levers, which reveal the potential for democratic development of the nation and the consolidation of citizens. After Ukraine gained independence, the text of the anthem was approved, with simultaneous editing, and in March 2003, the Verkhovna Rada of Ukraine adopted the Law "On the National Anthem of Ukraine" to the music of V. Verbytsky, P. Chubynsky's words "Ukraine is not dead yet, and Glory, and Will "– is one of the most important state symbols. Emphasis is placed on the fact that M. Verbytsky is the author of music for the National Anthem of Ukraine and his life choice, active social activity and creative work carried out a social-cultural mission. The talented composer, spiritual mentor, patriot M. Verbytsky realized the value of what he was doing, worked selflessly and sacrificially, promoting the position of self-affirmation of Ukrainians as free and self-sufficient people.

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Samikova, Nelli. "POLYCULTURAL TRENDS OF UKRAINIAN ETHNO POP FOLK MUSIC OF THE 21st CENTURY." Scientific Journal of Polonia University 43, no. 6 (June 18, 2021): 138–45. http://dx.doi.org/10.23856/4317.

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The article highlights the actualization of the cultural and national identification issue in the contemporary world. According to scientists, the preservation of the cultural and national identification in the global environment is the most successful when a polycultural approach is implemented to intercultural communication. The aim of the article is to demonstrate, using a polycultural approach for analysis, how Ukrainian national culture is displayed and popularized through the musical content of the 21st century. Reactions of video bloggers from YouTube platform became a marker of the popularity of such a cultural product. Using the method of structural analysis, the selected music videos were considered at a verbal level (usage of folk songs lyrics), a visual level (filming the videos in Ukrainian locations, usage of elements of national life, national costumes, etc.) and at an intonational one (usage of national instruments, singing in a national style, etc.). Due to this, it has become possible to highlight polycultural markers in the music content itself and then track the reaction of foreign video bloggers to the polycultural combination of modern music trends with Ukrainian national elements. The presence of such video reactions confirms the demand for polycultural products, transferring it to the category of a trend – what is on time and what is of most interest to a mass consumer. This proves the relevance of further development of the polycultural approach, expanding the scope of its application, as well as the natural perception of polycultural mass consumption products.

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Kaushnian, Y. M. "On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 141–53. http://dx.doi.org/10.34064/khnum2-13.11.

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Background. Ukrainian vocal pedagogy represents almost all types of instructive vocalises, which take into account both the specifi c features of the national vocal school and the individual style of authors and originators (both composers and performers). The aspect of national stylistic extends to such a component of vocal style as pedagogy. The national-specifi c features manifest themselves, fi rst of all, in the tone of material used to teach singers. The aspect of the musical Ukrainian “linguistics” in the modern language situation is associated with a certain type and the national form of language/speech. Dialogue of languages in the form of traditions and national musical lexicon is represented in Ukrainian vocalise, even in its instructional variants. After all, vocalization, which lays in the beginning of an academic singer teaching, plays one of the leading roles in understanding the art of solo singing. Such a teaching is based on the corresponding vocal exercises and more or less completed samples that came to vocal pedagogy from the traditions of academic and folklore practice, both world and the national one. It is obvious that there is no need to draw a direct parallel between the artistic samples of the national vocal music and training in their performance based exclusively on Ukrainian vocalises. It is only about the fact that the variety of methods for the voice training and development also includes a mandatory national-specifi c component, which is developed through the national vocal school practice and is based primarily on the embodiment of folk tones in vocalization interpreted in the curriculum. Therefore, the creators of Ukrainian instructive vocalises, focusing on substantial intonation, combine it with the singing techniques arising out of Italian bel canto. At the same time, a number of methodological and methodical issues related to Ukrainian vocalises require further coverage. The question of Ukrainian vocalise in two of its varieties – instructive and artistic – has not been almost studied which is an important aspect of the relevance of the paper. Thus, the relevance of the paper is determined by the following reasons: - the signifi cant value of vocalise in the practice of vocal art; - the need to fi ll a gap in studying the genre of vocalise based on samples created by Ukrainian authors. The aim of the study is to determine the specifi city of vocalise in Ukrainian vocal art, as well as related vocal-intonational exercises in the practice of Ukrainian vocal schools. The object of research is vocalise in Ukrainian vocal art. The subject of the study is its varieties and stylistic features in the Ukrainian vocal school. The material of the study consisted of samples of various types of vocalises and related vocal-intonational exercises in Ukrainian vocal literature: collections by M. Zavalyshina, S. Pavlyuchenko, О. Voronin and R. Voronina. One can distinguish another characteristic feature common to Italian and Ukrainian vocal stylistics, which is spoken by many Ukrainian vocal pedagogues, including representatives of the Kharkov Vocal School: P. Golubev, M. Mykhailov, L. Tsurcan, N. Grebenyuk, T. Madysheva. The matter is that in their genre specifi city, vocalises always refl ect the peculiarities of vocal music with the text, where the national language imposes its imprint on melody and rhythm, as well as on harmony (Harmony of Solo Singing by B. Filts). The Ukrainian “nightingale language”, characterized by the fl uidity of the transitions from word to word, the special role of vowels being singed, emotionality in the intonational rise of words, is close in many respects to the Italian, in which the same features are presented. Therefore, the presence of these two linguistic principles, which, although presented in non-verbal forms, through vocalization, is always felt in Ukrainian vocalises, refer both to instructional and artistic samples. The multidimensional nature of the tasks facing pedagogues and students in instructive vocalises is refl ected in certain specializations on which certain collections and selections are being created. Vocalises are an international genre, in which for several centuries of its exis tence, various musical and linguistic sources and techniques of singing, coming from them, were assimilated. In the vocalises, referring to different national schools, not only “our own” musical and mental features, coming from national folklore and professional creativity, but also “strangers”, come from the sources of foreign style (far, near, own; “theywe- you”, if you recall the triads of Е. Nazaikinsky). Relevant material is needed to develop multi-ethnic stylistics in the genre of vocalise. Teachers of vocalise widely use folk songs arrangements. The practice of such arrangements forms the basis for the creation of a national musical language, and the interest of composers-arrangers in other peoples’ songs helps extend such a language base. It is known that the national vocal school style acts as a general aesthetic phenomenon and is refl ected in all spheres of vocal art. This is about the vocal style of national authors, which is closely related to the peculiarities of verbal language (“music” and “word” as a key problem of vocal tone), as well as the refl ection of such a style in performing art, where syntheses of foreign national traditions and indigenous aspects of singing related to the national culture. The national specifi c features of instructive vocalises should be considered. One should not forget that this genre is traditional in nature and dates back to classical singing schools, especially to the Italian ones.

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Siuta, Halyna. "Precedent units from the texts of children’s culture in modern Ukrainian communication." Ukrainska mova, no. 4 (2020): 17–34. http://dx.doi.org/10.15407/ukrmova2020.04.017.

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Abstract: The article examines the сorpus of precedent statements and precedent names from the texts of childhood culture, which already have become active nominative-evaluative units of modern Ukrainian communication (journalistic, political, advertising, artistic, conversational, etc.). These units are classified into several functional and thematic groups: 1) which are genetically connected with the texts of children’s literature (national and world), 2) which are genetically connected with the texts of children’s films and cartoons, 3) which are genetically connected with the texts of children’s songs. Much less often speakers use precedent statements and names from texts of Ukrainian national riddles, counters, games, etc. The communicative relevance and pragmatic load of these precedent units in oral and written texts of different styles are analyzed. Structural and semantic types of their exploitation are demonstrated too. It is proved that in modern communicative practice precedent statements and precedent names from the texts of “childhood culture” are functioning as effective tool of secondary nomination of persons, situations, etc. The researched material gives grounds to single out several typical communicative-evaluative models of reactualization of popular precedent phenomena from the texts of children’s literature: 1) precedent names that characterize a person, phenomenon, object, etc; 2) precedent names and statements associatively correlated with the situation. Precedent phenomena from the texts of foreign literature for children as well as from many modern cartoons and children’s feature films adult speakers are naturally perceived as signs of “foreign” culture and require culturological commentary. In living language practice, under the influence of lingual and extralingual factors, there is usually an expansion of the semantics of precedent phenomena. Keywords: texts of children’s culture, modern Ukrainian language practice precedent units, precedent phenomena, precedent names, precedent statements, children’s literature, children’s movies and cartoons, children’s songs.

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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.

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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.

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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.

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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.

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Danylyuk, Nina. "Bibliyni slova-obrazy v tekstakh ukrayinsʹkykh narodnykh pisenʹ." Studia Ucrainica Varsoviensia, no. 8 (August 31, 2020): 41–59. http://dx.doi.org/10.31338/2299-7237suv.8.3.

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The article investigates the fi gurative language (words) of the biblical origin such as God, Jesus Christ, God’s Mother and other that obtained new national cultural meanings and became ethnologemes in the texts of Ukrainian folklore. The research is conducted on the basis of a great number of reference texts, written down mainly in the 19th – beginning of the 20th centuries. It was found out that the texts of oral lore are linguo-aesthetic signs of ethnic culture refl ect a mode of thinking of a nation at diff erent historical periods. It was pointed out that modern authors understand the meaning of such terms as a “word-image” and “language image” in diff erent ways and add their individual interpretations. Key words-images have been analysed in the context of the linguistic conceptual map of the Ukrainians in whom pagan and pre-Christian beliefs of our people are refl ected. It was discovered that Biblical words-images in the Ukrainian folklore were reconsidered and, as a result, it led to the changes in their forms and meanings. The analysis of the folk songs texts makes it possible to conclude that the word-images of Jesus Christ and God’s Mother are developed to the level of language images obtaining specifi c senses that are typical to a real man, a master/landlord, and a woman, a mother and a hostess/ landlady.

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Sheremeta, Iryna. "UKRAINIAN-BELARUSIAN CULTURAL TIES IN THE 1920S ON THE EXAMPLE OF COOPERATION OF THE MAGAZINE «MUZYKA» (“MUSIC”) WITH YULIAN DREJZIN." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 58, no. 58 (March 10, 2021): 182–97. http://dx.doi.org/10.34064/khnum1-58.11.

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The study of Ukrainian-Belarusian cultural ties has significant research potential due to typologically similar processes of cultural and national formation of the two neighboring nations, which was especially pronounced in the 1920s. One of the important factors in this was the Bolshevik strategy of indigenization in the national regions of the Soviet Union. Almost simultaneously, there was a surge in literature and art in both republics. The lack of special studies that would cover these joint processes in the field of music culture, actualized the disclosure of this topic. The purpose of the article is to study the peculiarities of cooperation between the editorial board of the magazine «Muzyka» (“Music”) (publisher – a determining factor in the development of Ukrainian musical culture of the 1920s – Mykola Leontovych All-Ukrainian Music Society) and a leading Belarusian musicologist, one of the founders of Belarusian historical musicology Yu. Drejzin and explore their correspondence as an example of close UkrainianBelarusian cultural ties in the 1920s. To achieve this goal, historical, biographical and source research methods were used. In the autumn of 1924, P. Kozytsky, the editor of the Music, and Yu. Masyutin, the secretary, took the initiative to establish contact with Belarusian artists. The following year, communication began with Yu. Drejzin. His works include the study «Music and Revolution» (1921), the dictionary «Musical Terms» (1926), the libretto of M. Aladov’s opera «Taras on Parnassus» (1927), scholarly and critical articles, a huge number of Belarusian translations from ancient Greek literature, as well as texts from Western European vocal works. Ukrainian musicologists of that time were interested in similar tasks. Cooperation with Ukrainian colleagues coincided with the beginning of Drejzin’s active critical and journalistic activity. His investigations into Belarusian music and the work of contemporary composers were published in the Ukrainian magazines “Muzyka” (1925) and «Radians’ka Muzyka» («Soviet Music») (1933), and in the Kyiv newspaper “Proletars’ka Pravda” («Proletarian truth») and the Belarusian magazine “Polymya” (“Flame”) (both in 1926) – posts about the existence of Belarusian songs in the repertoire of the band “Dumka”. According to the correspondence, Yu. Drejzin was initially irritated by misunderstandings that occurred in his collaboration with magazine “Muzyka”. He complained about the delay of magazines with his articles, had complaints about the amount of royalties. However, after the secretary of the magazine told him in detail about the catastrophic financial condition of the publication, Yu. Drejzin completely changed his mind: he admired the fantastic dedication of the editorial board and even envied the ideology of Ukrainian artists. The collaboration of the Ukrainian magazine “Muzyka” with the Belarusian musicologist Yu. Drejzin is an organic part of the Ukrainian-Belarusian cultural cooperation, which was significantly intensified during the national upsurge of the 1920s. Drejzin’s interest in the cultural ties between the two republics was reflected in the magazines of the time, in which he published his musicological research. Peculiarities of Drejzin’s cooperation with the magazine “Muzyka” are documented in correspondence with the secretary of the magazine Yu. Masyutin. The value of these letters lies both in their factual content and in reflecting the evolution of the Belarusian scientist’s attitude to Ukrainian colleagues and his willingness to borrow the professional experience of Ukrainians.

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Stezhko, Svetlana. "FEATURES OF AGE CATEGORY OF THE BEGINNING OF 20th CENTURY." LITERARY PROCESS: methodology, names, trends, no. 13 (2019): 51–55. http://dx.doi.org/10.28925/2412-2475.2019.138.

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The article analyses propaganda plays which create a broad basis for further consolidation in the mass consciousness of ideological concepts , mythologues, and behavioral stereotypes, wholly corresponding to the so-called social order of power and society. One of the most powerful ideological plots and cliches in plays-agitation is the conceptial plot contrasting «past — future» («old world / order / custom — a new world / order / custom»). The plot lines of the propaganda play, in fact, «appropriate» folklore subjects and fragments of the national historical narrative and rewrite them in accordance with the class-social ideology of the era. Theatricalization of history, as well as theatricalization of life, is carried out using ideological cliches, but based on historical stories. In the vast majority of cases, it is not about the use of plot conflicts from the biographies of historical figures, but on the contrary — about the rebirth of the plot schemes of folk historical songs, ballads, legends, and translations. The plot lines of the propaganda plays “take credit” for folk stories and fragments of the national historical narrative and transcribe it according to the class-social ideological settings of the era. This makes it possible to create a common historical memory. Due to this memory the national heroic pathos of the Ukrainian past is replaced by the images and metaphors of the class struggle of the proletariat and the peasantry. This image is wholly opposite to the national-patriotic, partly the existential-philosophical conception of the past, created in the late 19th and early 20th centuries in the dramatic works of Liudmyla Starytska- Cherniakhivska, Spyrydon Cherkasenko, Hnat Hotkevych, Mykhailo Hrushevskyi, Bohdan Lepky, Ivan Nechui-Levytskyi and other Ukrainian writers. National pride motive is replaced by the idea of “Soviet patriotism”, in order for “Ukrainians could celebrate their past, as long as it complemented, but did not combat with Russian imperial history” as S. Yekelchik notes.

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Sribnyak, Igor. "The Wadowice Camp (Poland) of the UPR’s Interned Troops: the Conditions of Stay and Morale of Interned Army in May-July 1921." Mìžnarodnì zv’âzki Ukraïni: naukovì pošuki ì znahìdki, no. 26 (November 27, 2017): 124–40. http://dx.doi.org/10.15407/mzu2017.26.124.

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The article analyzes the conditions of stay and morale of the interned Ukrainian army in the Wadowice camp (Poland). It was proved that the life of Ukrainian soldiers was marked by considerable difficulties due to overcrowding of the camp, a rather tight regime of keeping interned, limiting the ability to temporarily leave the camp, the unpreparedness of the camp commandant’s office to go to a meeting with the interned in solving their most pressing problems. Ukrainian soldiers’ ration was reduced, and sometimes they received spoiled products; they were devoid of soap; the camp still had a group of captive Red Army soldiers with Bolshevik agitators in their environment; there was a prohibition of singing songs (outside the camp, while studying, etc.). All this was aggravated by malevolence and even hostility to interned Ukrainian soldiers on the part of the individual officers of the camp (sometimes even offensive attitude to them), the intrusion of the camp’s commandant into the internal life of Ukrainian soldiers. All this led to the demoralization of the part of the interned Ukrainian army, which did not have stable national-state feelings. One of its manifestations was the desertion of several dozen interned from the camp, including officers. In these conditions, it was imperative to consolidate the moral spirit of the interned, what the cultural-educational departments were cared for. In order to create positive values, actors-amateurs of the camp’s theater regularly offered warriors performances by Ukrainian playwrights. The YMCA camp branch, which, despite the anti-Ukrainian position of its head, objectively changed the lives of the interned for the better.

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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 (September 15, 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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Loza, Sergiy, and Darina Kupina. "Genre stylistic features of О. Вelash’s chamber-vocal creativeness." Музикознавча думка Дніпропетровщини, no. 18 (November 12, 2020): 15–25. http://dx.doi.org/10.33287/222014.

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The purpose of this scientific article is to identify the specifics of chamber vocal creativity of O. Bilash in the context of Ukrainian musical culture of the 20th century. The following investigative methods are involved in the work: comparative, historiographic, analytical, genre, style, axiological. The scientific novelty of this represented exploratory work lies in the fact that for the first time it was made the attempt to detailise specifics of chamber-vocal creativity of O. Bilash. Chamber songs form the basis of the work of O. Bilash. Among the diversity of his songs, several certain groups can be distinguished, among which the main ones are works of a civilian theme, landscape lyrics and intimate lyrics. Among the best features inherent in the work of O. Bilash, we single out lyrical reflection, high sentimentality in the best sense of the word, laconicism of expression and precise psychologism. An integral feature of chamber-vocal creativity of O. Belash is romance, which manifests itself on the genre, style and intonation levels, which brings his chamber-vocal works closer to the 19th century song lyrics. It is romances that can be considered the most revealing from the point of view of individual style among the genre variety of chamber-vocal works of the composer. Conclusions. Celebrated composer O. Bilash is distinguished by a bright melodic talent, which forms the foundation of his creative style. The main natural principle of the composer’s creativity is that some of them have the most characteristic signs of their own indigenous style. O. Bilash’s chamber-vocal creative work is characterized by a very faithful national identity, identifying oneself with the figurative, and so with the vernacular rivals. He is characterized by the sincerely superelevations of national identity and individual compositional style.

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Dyadyscheva-Rosovetska, Yuliya. "The rhyme of Grygoriy Skovoroda as a language phenomenon." Actual issues of Ukrainian linguistics: theory and practice, no. 37 (2018): 19–39. http://dx.doi.org/10.17721/apultp.2018.37.19-39.

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Specific language of the Gregory Skovoroda still attract the attention of scientists, especially common are discussions on combination of elements of the different origin in his poetics. The emphasis is on the method of reconstruction of features of the language of ancient texts, which is a complex set of procedures. The various approaches of scientists to the linguistic interpretation of Skovoroda's texts are analyzed: certain heterogeneity taking into account stylistic differentiation, approaching to Russian, a mixture of Church Slavicisms, Ukrainianisms, Russisms, pseudo-Ukrainianisms and pseudorussisms, a combination of the traditional Old Slavonic element with the linguistic folk, the Slavic Ukrainian book 2 half of the XVIII century Etc., a qualitatively new phenomenon, representing the only Eastern Slavic literary language. Unfortunately, the problem of language of the Gregory Skovoroda is usually observed only from the point of view of the current state of development of the Ukrainian language and the processes that occur in it at the beginning of the XXI century. This study's autor approaches this issue from diachronic point of view, reconstructing G. Skovoroda’s speech issues in the context of the language environment of his time and using a comparative method to identify the original pronunciation of the G. Skovoroda’s the poetry in relation to the spelling of his poetic texts. With this instrumentary, rhyme in a number of poems becomes available to study. In particular, proposed method is used upon a "Tenth song" from the series "Garden of Divine Songs", only its author's version on autograph rough copy becouse versions published in academic collections in 1973 and 2011 hold traces of adaptation to the norms of modern spelling. Based on our observations on the draft of the autograph’s Song "To Every City Its Customs and Laws" by G. Skovoroda, we can conclude that when reading the poetry of the G. Skovoroda using Ukrainian language phonetic signs, rhyme is accurate, whereas in rules of "Russian" reading - is inaccurate. This is the evidence for the important role of the Ukrainian component in the language of the poet-philosopher and that his poems are ment to be read using Ukrainian rules. In the perspective, proposed approach can be applyed to analyze the language of other poetic works by Gregory Skovoroda. Key words: language of G. Skovoroda, rhyme, historical linguistic stylistics, linguistic phonetics, Ukrainian language, Old Chirche Slavonic language. Information about author: Dyadyshcheva-Rosovetska Juliya Borysivna – PhD, associate professor; associate professor of the department of stylistics and language communication; Institute of philology; Kyiv National Taras Shevchenko University.

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Tereshchuk, Hryhorii, Oleksandra Yankovych, Kateryna Binytska, Olena Binytska, and Iryna Kuzma. "Ivanna Blazhkevych about the development of pre-school education as a factor in building a strong state." SHS Web of Conferences 75 (2020): 01005. http://dx.doi.org/10.1051/shsconf/20207501005.

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The activity and creative work of Ukrainian activist, writer, teacher Ivanna Blazhkevych (1886“1977) in the context of the development of pre-school education as a factor of strengthening the state have been thoroughly investigated in the article. For the first time the periodization of main stages of life and development of cultural-educational and scientific ideas of Ivanna Blazhkevych were substantiated in the article. The basic directions of pedagogical and cultural-educational activity and creativity of I. Blazhkevych have been clarified: pre-school-pedagogical (organization of pre-school institutions; substantiation of methods of pre-school education; determination of requirements for kindergarteners-educators); educational (participation in the elimination of illiteracy), ethnographic (collection of ethnographic material: recording folk songs, legends, sayings); national-patriotic (preservation of national traditions, mother tongue); guardianship (assistance to local war victims, prisoners of war, establishing orphanages for children); economic (founding cooperatives; working as a director of the district union of cooperatives in Ternopil), literary (writing books for children).

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Kravchenko, Oksana, Nataliia Pyzhianova, Uliya Pidvalna, and Iryna Reznichenko. "Educational activity of P. Kulish: book publishing and folklore preservation." Revista Amazonia Investiga 9, no. 26 (February 21, 2020): 282–90. http://dx.doi.org/10.34069/ai/2020.26.02.32.

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This article is devoted to the study of the educational activities of P. Kulish, which consisted in the creation of Ukrainian educational literature, preservation of monuments of national folklore. The following scientific research methods were used in the preparation of the article: method of generalization, method of comparisons and analogies, chronological and induction method. They pay attention to the analysis of the historical work called «The story about Ukrainian people». It was noted that it was one of the first educational books on the history of Ukraine, which, along with descriptions of historical events, included folklore material, taking into account some folk songs translated into Russian. The structure and content of the textbook for teaching grammar in the Ukrainian language “Gramatka” are examined in detail in the article. It is stated that the textbook contains a preface, twelve sections. The textbook's teaching material covers not only reading and writing skills, but also arithmetic, general historical science information. Also, for the first time, samples of oral folk art and other folk monuments were used as educational material. The results of the analysis of P. Kulish's textbook “Gramatka” suggest that it implements the basic functions of the textbook, namely: information, development and education. The textbook is clearly structured, it contains basic and additional texts, illustrations, various types of tasks and exercises. The authors point to P. Kulish's key role in publishing literary works of Ukrainian writers in separate brochures. It is noted that the creation and spread of religious works in the mother tongue was an important element in raising the overall educational level of the Ukrainian people. The results of the study indicate that P. Kulish's educational activities in the native language were effective through the means of educational, religious and popular science literature.

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Mashchenko, Anna. "PRIORITY OF USING MUSICAL AESTHETIC COMPETENCE WHILE FORMING METHODS OF PUPILS IN EXTRACURRICULAR EDUCATION." Aesthetics and Ethics of Pedagogical Action, no. 13 (March 9, 2016): 163–71. http://dx.doi.org/10.33989/2226-4051.2016.13.171554.

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The article clarifies the nature and content of musical and aesthetic competence and, based on this, the basic principles of its formation in adolescents covered by system activities of the school education in Ukraine, which is regarded as a complementary to the secondary, and sometimes advancing. Music and aesthetic teens’ competence forms both in efforts of secondary school and adult education. The question: “What are the features’ principles of work in out-of-school institutions for the establishment of music and aesthetic competence of students of this age?”. The relevance of research caused by need in deeper theoretical understanding of various aspects of competence approach, as a basis for reforming the educational and upbringing process in modern conditions.The purpose of the article essence and content of principles methods that make up foundation methods of the educational process in out-of-school education, directed at the affirmation to musical and aesthetic competence of teens’ students.In foreign and domestic literature we meet a lot of definitions of competence (Bader R., Beh I., Bibik N., Hutorskoy A., Mertens D., Raven J., Savchenko O., Shelton A. etc.). Despite some differences in the meaning of this definition, we have fond also common features: ability, willingness to the subject effectively organize knowledge, abilities, skills, experience for setting and achieving goals. There are key competencies, including general cultural, which includes musical and aesthetic as one of the brunch. In our research, we follow the general approach to competence which defines the essence of "musical aesthetic competence" concept. The essence of the musical and aesthetic competence lies in its individual capacity, readiness and real opportunities to accept, integrate and experience the beauty of musical works, play (or create) it practical with understanding of the importance of this type of activity in the social and individual spheres of life, in different social relations.The principle of national focus in education including knowledge of Ukrainian folk songs, works of local composers, ability to perform it (singing or with the help of instrument), feel their beauty, bringing together with their nationality, and therefore with themselves. It helps to develop the ability to preserve their national identity, to understand music as an integral part of spirituality of the Ukrainian people. Ukraine is a country, which is home to several dozen ethnic groups, or so-called minorities. The Constitution of Ukraine declares that the country supports, creates conditions for the development of their national identity. Representatives of these peoples and ethnic groups should not feel reduced in their rights. Therefore, in areas where contact populated by national minorities in non-school institutions should be created special creative teams under national direction. At presence of choir, band, orchestra, etc., several participants of certain nationalities their national works should be included in repertoire. However, all teenagers, members of the creative teams must be able to sing in Ukrainian language, perform Ukrainian music to feel the citizens of Ukraine, to be part of Ukrainian nation, formed as a patriot for all ethnic homeland.

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Gorova, Vitalina. "Social Traditions of Entertainment and Communication of Ukrainian Peasants in the SECOND HALF OF THE 20th – early 21th centuries (ON EXPEDITIONARY MATERIALS)." Ethnic History of European Nations, no. 61 (2020): 7–16. http://dx.doi.org/10.17721/2518-1270.2020.61.01.

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Socio-normative life of Ukrainians of the 20th – the beginning of the 21th centuries, that covers aspects of management, self-organization and formation of public institutions, mutual assistance and leisure, regulation of behavior, is a poorly studied topic in ethnological science. During the establishment of the Soviet system, which completely changed the traditional way of life of Ukrainian peasants, a major transformation of the customs of public life took place. Following Ukraine’s independence, modern social normative practices were developing according to the requirements of the new legislation. As the result, nowadays there is a considerable urgency to investigate the specifics and changes that have taken place in public life in the Ukrainian villages in the second half of the 20th – early 21th centuries. In the new socio-economic and national-religious contexts, despite the changes in industrial relations and socio-professional composition of the rural population, the system of traditional social life in Ukraine was able to maintain positive and well-considered skills of social coexistence, forms of daily and festive leisure, as well as the moral and ethical standards of people’s coexistence. The article on the materials of expeditions to Chernivtsi, Ternopil, Zakarpattya, Odessa, Kharkiv regions analyzes the preservation and peculiarities of transformation of traditional social forms of leisure and communication of peasants during the second half of the 20th – early 21th centuries. The types and places of daily (customs of «calling for freshness», «going for liver», mutual assistance, evening meetings) and festive (during the temple holiday, mutual guests, youth entertainment, celebration of the village holiday) leisure of the village community are revealed. Most of the information was recorded on evening meetings. They are a socio-everyday entity that organically combines entertainment and work elements. Usually, the main guideline for their conducting was hand work (spinning, embroidery, sewing), accompanied by songs and entertainment. The made records give a certain idea of the contemporary collective customs and traditions of Ukrainians in rural areas, especially of interpersonal relations in the Ukrainian peasant environment of today. The common belief among the respondents is that some changes in people’s behavior are manifested by a decrease in interest in communication than before (reciprocal guest-houses between the villagers have become a rarity – they only gather on holidays). Today, the customs of collective mutual assistance (in case of distress or distress in one of the villagers) are still preserved among the rural population.

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Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.

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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.

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Sobkovych, Olha. "Folk poetics in creative work of Petro Kholodnyi Senior." Bulletin of Lviv National Academy of Arts, no. 42 (December 27, 2019): 66–78. http://dx.doi.org/10.37131/2524-0943-2019-42-10.

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Summary. The defined issue is the new angle to study Petro Kholodnyi Sr. heritage, that allows to research the thematic interest features and style synthesis specific to artist`s original language, where we can trace the modernist style, symbolism, byzantine style and impressionism echoes. It was observed an important group of artwork by Kholodnyi Sr. in the article. Together with the sacral heritage, they have played a significant role in the reviving of the Ukrainian national art in the first part of XX century - the compositions on the folk themes. The comprehensive review of the folk poetics in creative work by Petro Kholodnyi Sr., is lightened in context of the current historical and art-cultural realities of the defined period, that allowed to distinguish the characteristic, typical and novel features in creating, by Petro Kholodnyi Sr., the Ukrainian national art through appealing to the folk poetics. It was marked, that Petro Kholodnyi Sr. engagement in folklore was natural in context of two essential interdependent tendencies of that period: the idea of the “national reviving” in the Ukrainian culture in the first part of XX century, among the characteristic features of which – appealing to folklore as the field of the national spirit preserving and “tradition discovery”. It is defined the peculiarities of trendsetting technical performance and ideological-stylistic understanding and rendering of the folk poetics in the visual form, that expanded the idea of this source interpretation abilities in form and sense aspects of that period art searches context. Methods. For holistic analysis, author applied the following methods: form and style analysis to explore the art peculiarities of the artwork, on the Ukrainian folklore motives, by Petro Kholodnyi Sr.; comparative style analysis to detect the features of artist creation manner and its change according to certain one or other ideological-sensitive or emotional message, and to distinguish the differences, between comprehension and visual implementation of the folk poetics in Kholodnyi Sr. creative work in comparison with Russian artists, who, in their creative activities, appealed to the folk well-springs. Results. Through folk poetics, which he felt delicately, Kholodnyi Sr. propagates the most current messages of “national reviving” in early XX century. In particular, the Ukrainian national history pages he exposes via appealing to such source of its study as ballad (thought) (“The thought of the Black sea windstorm”), that added some folk-poetic colours to the theme; also he refers to one of the most famous ancient Rus literature memorials of the late XII century – “The Lay of Igor’s Campaign”, which is saturated with Slavic folk poetry motives. In compositions created by these sources, Kholodnyi Sr. not so much emphasized the ballad subject illustrations or historical annals context as the poetic highness. So there is in his artwork, even on historic themes, a strong, musical in its harmonic melody, rhythm of colourful spots and lines. That’s the important individuality of his creations. The same powerful national poetics we can also feel in his creative works on Ukrainian tales, corals and songs motives, where the emphasis is put on enlarging the emotional-sensitivity edge, but not on the external plot, that we can see in such works as “Oh, there is rye on a field”, “Ivasyk and witch” and “The tale of a girl and a peacock”. Poetry and subjective-emotional components of two last creations point out on the affinity to symbolic-modern worldview, where the reality and tale are mixed at the moment. In his works on folk themes, he combined the style trends early XX century with the national painting traditions. Particularly “The Tale of a girl and a Peacock” corresponds by style to plastic language of modern with its emphasized decorativeness, softness of lines and clear lineal drawing, but in composition “Oh, there is rye on a field” we can see the signs of late modern which includes into its art language the method of stylization one or other famous historical pattern, in this case - byzantinism. Both art work performed in discovered by artist tempera technique which allowed to get that colour tints that enchanted in the ancient Galician icons. So these paintings possess you by delicately harmonized tincture which together with folk motive, its subject and ethnographic details, like heroes’ cloths, creates the folk-national sound of composition.

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Zhang, Ling. "The genre of folk song arrangement at the present stage: cultural and historical aspect." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 298–312. http://dx.doi.org/10.34064/khnum2-19.17.

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Logical reason for research. Folk song arrangement used to occupy and still occupies a prominent place in musical practice, both in the composing one and the performing one. It combines the best, time-tested features of the folk music tradition and professional musical art. Being a genre, which is synthetic in nature, the arrangement of a folk song carries a complex set of characteristics of different types of musical creativity, which, activating different genre indicators in different historical and cultural conditions, allows this genre to occupy a special place in musical culture. The focus on a wide audience, realized at different levels of the genre, determines its external intonation-figurative, as well as performing simplicity and accessibility. At the same time, in the field of musical theory, the genre of folk song arrangement has not been given sufficient special attention either in the aspect of the peculiarities of this genre as such, or in terms of the peculiarities of its development in certain temporary socio-cultural conditions. According to the author of the present article, it is precisely the combination of these perspectives of research that is a fruitful approach to identify the specifics of the genre of folk song arrangement, in particular, in the historical and cultural aspect. Innovation. The present article is devoted to the genre of folk song arrangement in the aspect of historical development on the example of the musical culture of Ukraine and China. The genre of folk song arrangement as a result of the interaction of traditional and professional musical art has its own intonation-musical, figurativemeaningful and performing specificity. It manifests itself in stable genre indicators, providing the genre of folk song arrangement with vitality and recognition in various historical, temporal and cultural conditions. For the first time, we propose a comparative characteristic of the history of the development of the genre of folk song arrangement in Ukraine and China, on the basis of which it can be argued that differences in the ways of the development of this genre do not affect the genre nature, which has theoretical and practical (namely, the performing one) dimensions. Objectives. The purpose of the presented research is to reveal the specifics of the historical development of the folk song arrangement genre on the basis of comparing the conditions of interaction between the traditional and professional musical culture of Ukraine and China. In this regard, the following scientific tasks arise: a review of scientific sources devoted to the Ukrainian and Chinese folk song in the aspect of the study of the genre of arrangement; the identification of the ratio of the traditional and professional approach in the genre of folk song arrangement; a comparative characteristic of the main directions of the development of the genre of folk song arrangement in Ukraine and China from the early recorded data of the modern musical practice. Methods. The main methods of our research are the genre one and the historical one. The genre method is necessary to identify the main genre constants of folk song arrangement, which preserve the specificity of the present genre in various historical, temporal and cultural conditions. The historical method is associated with regulating information about the evolution of the folk song arrangement genre in the time perspective from the beginning of the interaction of traditional and professional music to the modern existence of the genre. Results of Discussion. A rather voluminous baggage of facts related to the arrangement of folk songs in the existing musicological sources often remains just a sum of facts. Quite a lot of research has been devoted to folk music and folk song as one of its main representatives, both in a historical and theoretical way. These are scientific works of different genres – from articles to dissertations. As a separate genre, the arrangement of folk songs has not received comprehensive coverage in individual scientific works, although the study of specific samples of arrangements of folk songs in the conditions of the composing or performing creativity is represented quite widely. As a rule, in studies devoted to the genre of folk song arrangement, the object is the arrangement of a folk song in the creative work of a particular composer or in the field of performance – for example, in relation to Ukrainian musical culture, one can talk about bandura performance, the activities of certain musical groups of varying degrees and directions of professionalism – from amateur to academic. As for Chinese musical culture, the representative of which the author of the present article is, Chinese musicologists pay more attention to the history of Chinese folk song, its collection, recording and influence on the professional creative work of Chinese composers – from chamber-vocal to instrumental creativity. Thus, the lack of a systematic study of folk song arrangement as a genre makes such a study very perspective. Considering that modern musicology involves genre, stylistic, figurative, national-cultural parameters in the field of scientific research, the study of the genre of folk song arrangement seems to be quite rich both in terms of problems and in terms of predicted results. The cultural and historical aspect of the study, associated with understanding the patterns of the development of any musical genre at different stages of history in different cultural and civilizational conditions, is one of the basic ones in science. In the present article, it is based on a comparative characteristic of the development of the genre of folk song arrangement in Ukrainian and Chinese musical culture. Conclusions. The result of the study is the conclusion that the genre of folk song arrangement, owing to its synthetic nature, has special genre qualities, which in various historical and cultural conditions allowed it to retain its specificity for several centuries up to the present day. The comparative characteristic of the history of the development of the folk song arrangement genre in Ukraine and China allows concluding that the differences in the ways of the development of this genre (the history of the development of professional musical art, the differences in the ways of interaction between traditional and professional musical culture and, accordingly, the peculiarities of the compositional arrangement of folklore primary sources) do not change its specificity, which has both theoretical and practical (in particular, the performing one) dimensions. The prospects for further research in this direction are associated with: the characteristic of the synthetic genre nature of folk song arrangement; with the peculiarities of the historical development of the folk song arrangement genre in different time and national-cultural conditions; with the identification of the role of the genre of folk song arrangement in musical practice (both the composing one and the performing one) at different historical stages of the development of musical art in different countries of the world.

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Yastrub, Olena. "Musical and educational activities of Mykola Lysenko as a phenomenon of self-identification of the national culture." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 92–104. http://dx.doi.org/10.34064/khnum1-55.07.

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Formulation of the problem. In the globalized time-space of the 21st century, the musical heritage left by M.V. Lysenko motivates to comprehend at a new level the phenomenon of the creative universalism of the artist, the multiple manifestations of his musical-social, educational, ethnographic and composing activities. Given the importance of the choral singing for nurturing the national consciousness of young musicians, the role of M. Lysenko’s opera heritage for children and adolescents should be noted. The choice of the theme was actualized by the iconic premiere of M. Lysenko’s children’s opera called “Winter and Spring” (2017) at the Great Hall of Kharkiv National University of Arts named after I.P. Kotlyarevsky,performed by young performers, which coincided with honouring the memory of the great Kobzar (the 175th anniversary since his birthday). In particular, the orchestration was performed by Yelizar Pashchenko, the stage director – Sofia Melnikova; the conductor –the author of the article. Thus, M. Lysenko’s children’s opera is still relevant for young artists in terms of their professional and national self-growth. The purpose of the article is to systematize the manifestations of artistic universalism in the activities of M.V. Lysenko in the aspect of phenomenology of the creativity of the composer on the example of the genre of children’s opera. The object of the study is the Ukrainian music tradition; the subject – music-educational activity of M. Lysenko in the aspect of its actualization in the contemporary cultural and artistic space. The analysis of recent publications on the topic. The reflection of M.V. Lysenko’s creative heritage in its aspects was performed in the studies by the classics of Ukrainian studies (K. Kvitka (1986), M. Rylsky (1927), O. Pchilka (1913a, 1913b), L. Arhimovych, M. Gordiychuk (1992)), and by the modern scholars (L. Corniy (2011), S. Grytsa (2007)). One of the fundamental editions is the book-album called “Mykola Lysenko’s World. National identity, music and politics of Ukraine of the 19th– the beginning of the 20thcenturies»(compiled by T. Bulat and T. Filenko (2009)). However, there is no phenomenological approach to the master’s creative work in these sources. The presentation of the main material. M. Lysenko was a personality gifted with many talents, at that time he was presenting the figure of a universal personality – on the one hand, an intellectual, and on the other – an educator. He read in the original language the works by Russian, Polish, German, French writers (Dumas, Eugene Sue), independently studied the works by R. Schuman and R. Wagner, Y.S. Bach, performed virtuosic compositions by F. Liszt. The manifestations of the artistic universalism of M.V. Lysenko as a criterion of the composer’s activity in the light of the problem of self-identification of Ukrainian culture at the stage of its formation have been systematized. The composer’s outlook and aspects of his creative life have been characterized. Lysenko’s music-educational activities began the process of democratization of music education in Kyiv. So, in 1904 he opened the School of Drama and Music. He focused on the programs of Moscow and St. Petersburg Conservatories. Therefore, on the stage of the educational institution the authors of the modern version of the opera “Winter and Spring” take the ideas of the founder of the national musical culture. Their purpose was to preserve the holistic concept of the development of the musical form of the opera. The ancient folk intonations, the expressive and difficult in the technical performancesub-voices, the varied and original use of the fret, reflected in the melody of children’skolyadka (carols) and vesnyanka (spring songs), helped the young performers to achieve some level of the performing skills. It should be noted that the final choir (vesnyanka) “And it’s spring already, and it’s already good”, as well as the choral scenes of carolling and spring celebrations are in low demand in the modern choral performance and need to be popularized. For example, the choral scene that begins with the kolyadka called “Herod Is Damned” can be performed as a compulsory piece at children’s choral competitions in Ukraine. The opera is quite technically difficult to perform. Children’s mass scenes “cement” the opera’s musical material. The choir of the younger age children performed the first choral song “Go, Go, Let’s Meet”, built on the invocative intonation of the big tertiary, there are jumps on octave and the fifth; by means of harmonization, the composer gives a colourful sounding to the choir’s kolyadka and shchedrivka (New Year Ukrainian song). Conclusions. In the choral scene of the children’s opera called “Winter and Spring”, the composer applied such techniques as: the combination of shchedrivka and kolyadka in the choir “New Joy Began”; the techniques of folk polyphony: unison chants (vesnyanka “Cuckoo in the Meadow”), the tertiary doubles and octave thickenings (the ancient kolyadka “Herod Is Damned”); the original means of vocal-choral writing (the final choir “And it’s spring already, and it’s already good”). Thus, M. Lysenko’s creativity is filled, on the one hand, with the love to Ukrainian folklore, and on the other, with the perception of the European spiritual values of the music world, where Ukraine should take its rightful place. This is the phenomenon of self-identification of the professional activity of the great composer and figure of musical culture, which is inherited by the modern musicians of Kharkiv

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Babichenko, N. О. "Primary specialized education institutions in the system of continuous arts education." Musical art in the educological discourse, no. 2 (2017): 54–58. http://dx.doi.org/10.28925/2518-766x.20172.5458.

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The article highlights the essence and importance of primary education institutions in the system of continuous arts education. The concept and significance of continuous arts education, in particular musical and aesthetic, the importance of primary specialized arts education institutions (schools of aesthetic education) in the development, education and professional creative aspiration of the younger generation are determined. The importance, problems and prospects of schools of art in the process of enrichment and development of the spiritual and musical culture of the Ukrainian people have been clarified. In hard time of reforms and decentralization for Ukraine, we should not forget about spiritual, nationalpatriotic, musical development of our generation. Primary specialized arts institutions (schools of aesthetic education) require revival, functioning, expansion and prosperity, but not destruction in the process of reforms and decentralization. They should be protected by the state,law, to be state, formal and accessible for all. The revival of our society is possible due to a revival and presentation on the higher stage of spiritual, cultural, national, patriotic values of our people, its folk songs, folklore, musical achievements for the bright development of our young generation. Cultural identity always carries the values of a developed, intelligent, intelligent, spiritually enriched, intellectual person in our society.

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Mukmeneva, R. I. "General pedagogical foundations of D. V. Andrusenko’s work with children musical collectives." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 38–55. http://dx.doi.org/10.34064/khnum1-53.03.

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Background. The relevance of the topic of this article is determined by the trends of modern musicology to thorough studying the achievements of ensemble bandura performing, in order to use the practical experience of talented teachers-bandurists. As a result of the radical changes that took place in the cultural realm during the 1990s, the folk vocal-instrumental performing was a subject to stagnation. The mass character that had distinguished this area had been lost. However, the needs of contemporary (early 21st century) socio-cultural practices in the realities of existence of folk vocal-instrumental musical culture are increasingly being linked to the rethinking of former forms of collective music playing. After all, the folk vocal-instrumental performing is a form of manifestation of national consciousness, and therefore it functions as an important factor in restoring the Ukrainian national tradition. To bandura vocal-instrumental performing field a talented teacher, choirmaster, bandurist, master of making these musical instruments – Dmytro Vasyliovych Andrusenko (1895–1965) belongs, whose figure draws attention due to his contribution to pedagogical, cultural-educational, artistic space of some regions of Ukraine (Poltava, Sumy). Objectives. The article analyzes D. V. Andrusenko’s artistic-pedagogical activity. The peculiarities of work of the bandurist and conductor as an organizer and leader of children’s music collectives, capellas of bandurists and choirs, are highlighted. The results of the study. The pedagogical principles, techniques and methods of work of the teacher with the pupils in terms of mastering performing skills, development of vocal skills, civic and patriotic education are clarified. It should be emphasized that D. V. Andrusenko fruitfully worked not only as a musician, teacher, but also as a propagandist, popularizer of national culture. His pupils received musical, national-patriotic education, grew spiritually, enriched culturally. This is evidenced by their repertoire, which included a lot of songs in T. G. Shevchenko’s words, Ukrainian folk songs, classical works, as well as songs of different peoples – the members of the collectives got a spirit of respectful attitude towards musical cultures of other countries. As the organizer and leader of the collectives, D. V. Andrusenko taught his pupils vocal skills and playing bandura. He used the principles of music didactics to solve these problems. D. V. Andrusenko used such a system to work with bandurists of his capella, which was based on the leader methods of music pedagogy. His system included learning the techniques of playing the instrument, step by step, formation of pupils’ technical skills, systematic exercises. As a highly skilled choirmaster, D. V. Andrusenko used in his pedagogical arsenal the necessary basic methods of work for the formation of the voice apparatus of his pupils. The important task of the choir teacher is correct, vocally competent distribution of the pupils’ voices. This part of work was not difficult for D. V. Andrusenko, since he was a choirmaster of the high level, had absolute pitch. Musical-pedagogical activity of D. V. Andrusenko was connected with institutions of education and culture. On the basis of education institutions and houses of culture he organized large creative collectives: capellas of bandurists, choirs, instrumental ensembles. According to the memoirs of witnesses and participants of the collectives, their head, while selecting future pupils among the schoolchildren, carefully listened to each person. The selection was serious, the best pupils came to the collectives. It should be mentioned that D. V. Andrusenko – a teacher, musician, master – was an example for his pupils. They all mention him with respect, emphasizing his exceptional professionalism, intelligence, education and high moral qualities. Conclusions. Thus, the conducted research proves the presence of general pedagogical foundations in D. V. Andrusenko’s work with children’s musical collectives, the use of the leading principles of music teaching, such as: systematicity and graduality; availability of knowledge; retention of learning (by the methods of repetition, exercises); individual approach to the learning process; student and teacher activity; ostensiveness, visibility, clarity (by methods of showing and explanation); communication of learning with life practices; formation of a situations of creative competition and encouragement to success. The principles and methods used by D. V. Andrusenko as a teacher in his work with amateur musical teams have not lost their relevance today.

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Kamenieva, Anna. "Stylistic features of the choral concerto “Witchery songs” by M. Shukh." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, no. 55 (November 20, 2019): 122–35. http://dx.doi.org/10.34064/khnum1-55.09.

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Background. The current paper provides an intonation and dramaturgical analysis of the choral concerto “Witchery Songs” by a contemporary Ukrainian composer M. Shukh (1952–2018). It reveals stylistic features of the late composition, presents an argument for its affiliation to the meditative sphere enriched with new stylistics, which can be seen in the semantics of contemplation, philosophical and psychological focus (the first movement), the concept of “Light” (the second miniature) as well as composure and blissful sleep (final). Objectives. To reveal stylistic features of the choral concert “Witchery songs” in order to understand the multidimensionality of the late style of M. Shukh (2010). Methods. The methodology of the research is based on the genre, stylistic, structurally functional, intonation-dramaturgicaland semantic scientific approaches. Results. The structure of the cycle includes three miniatures created in different years (1993, 2006 and 2009). The composer combined them into a new author’s concept: the unifier was the image of the author’s contemplation, meditation on various images of O. Kryvoruchko’s poetry, which was related to his spiritual universe. The program title of the cycle “Witchery Songs” chosen by the author is general, borrowed from the dramatic imaginary sphere of the first movement. The first movement “Practising witchery on a Gray Seagull” embodies the image of a seagull appearing in different forms: as a white bird, a symbol of purity, and the grey one, which had been grief-stricken and died, leaving behind baby seagulls. The poetic text is abundant with symbols of death (“black water”, “bitter mountain”), and vice versa, with signs that symbolize hope: “clear field”, “pure wonder”, “white grasses”. At the same time, the name of the movement, its folklore bias and content also point to the image of witchery, which is embodied by M. Schukh in thematism through meditation (means of tempo and timbre dramaturgy, “dark” modal and tonal focus). The metrical organization of the movement attracts attention. If the beginning of the introduction is presented in the 4/4 time, then in the enunciation of the main theme (bar 7) the composer uses an odd meter of 11/8 with the subsequent change to 10/8, 5/8, then 3/4. The frequent change of the metric rhythm indicates the relation of the musical stylistics of this theme to the Ukrainian folk-song tradition. The second movement “Night” contains no specific symbolism of practising witchery: the semantics of the night includes rather a genre model of a nocturne with its onomatopoeia (breeze, bells, stars, moon). A beautiful pattern is perceived as an intermezzo between the dramatic text of the cycle exposition and the celestial lullaby, which elevates the earth’s feelings to the Light. The movement reveals a magical picture of nightlife. The composer embodied this contemplative image by creating light meditation. Major colour, quiet dynamics, slow tempo, and chamber-like use of musical expressiveness all contribute to the basic essence of a meditative state – calmness and relaxation. Meditative onomatopoeia interfuses the whole movement – a light breeze, lighting up the stars. The image of the bell is found in all parts: the first soprano part has a poetic text – “the wind tinkles “, the alto one has mormorando, a singing technique, the second sopranos – syllables “din, don” with sonorous singing of the last “n”. In this part the composer often applies the techniques of free development – glissando, tenuto, rhythmic variety – triples, long delays. In such a way the artist sought to “let the performers go”, creating a meditative image of night silence. In the third movement, “Angelic lullaby,” meditative semantics is multiplied, since the genre of lullaby, like meditation, has a calming effect. Thanks to its name the composer gave the song a higher, deeper meaning. Musically, the composer filled the imagery of the movement with an incredibly expressive theme, onomatopoeic techniques similar to the previous movements: imitation of a breeze, hum of birds, stream overflows. Basically, the theme of the movement unfolds with the help of a spiral-like motion technique, the sound of which contributes to the lulling of a baby to sleep. The rhythmic basis of the theme is coloured by the intonational ostinato. The metro-rhythmic structure plays a special role in the dramaturgy of the movement: the composer often changes time signature, a large number of syncopescolour the musical texture, adding depth and at the same time lightness to the texture, and making the choir sound elusively charming. Conclusions. The semantics of the work is formed by stylistic synthesis (folk elements of the musical language embedded in the poetic text of O. Kryvoruchko; sacral signs – bells, angelic lullabies and onomatopoeia), emphasized at the soundintonational level. Taking into account the program subtitle (Practising witchery), the work, at first glance, seems to be a “cognitive dissonance” in the context of spiritual themes predominance in M. Schukh’s music. However, in the original concept of the composition, the composer clarifies for the thoughtful listener his idea – “modulation” way from mythopoetic (earthy) magic to the sacredness of the spiritual type (blissful sleep). The use of folklore stylistics shows that the artist continued the national tradition of O. Koshits, L. Dychko, Ye. Stankovich and others in the choral genre. Such a genre-stylistic decision is today perceived as an actualization of the appeal to traditional folk art, through the lens of philosophicalreligious poetics of author’s thinking.

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Добролюбська, Ю. А., and O. М. Присяжнюк. "Obscure philosophical heritage of Christian FÜrchtegott Gellert: An Experience of ConceptualizationObscure philosophical heritage of Christian FÜrchtegott Gellert: An Experience of Conceptualization." Grani 22, no. 4 (June 26, 2019): 36–44. http://dx.doi.org/10.15421/171941.

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In the department of Rare Books at the Library of the South Ukrainian National Pedagogical University named after K. D. Ushinsky two distinctive works by Christian Fürchtegott Gellert published in 1790 were found. The current level of the use of early publications as sources for historical research is largely dependent on the accounting and scientific level of describing the sights of print within the institution. This fact is specifically important for the early printed books and rare editions as the study of those allow restoration of historical memory and the eliminate white spots in the history. Almost forgotten by descendants, the work of C. F. Gellert represents a holistic philosophical, historical and pedagogical system whose specificity is determined by the personality of the writer: his spirituality, worldview, life, and experience. Gellert’s theoretical treatises represent not only a collection of his didactic ideas and concepts, but they are also the philosophical and aesthetic foundation of the literary work of the author. All works created by Gellert, whether fables and parables, moving comedies and romance, spiritual wings and songs, have a theoretical justification. At the same time, it is important for the author to translate their ideas and views into life. Also, to visualize the artistic material to show the reader the possibility of solving educational problems with a help of artistic creativity.

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Protsyk, Iryna. "зміна риторики українських футбольних фанатів під час суспільно-політичних подій в україні 2013–2016 років." Oblicza Komunikacji 9 (October 30, 2018): 157–65. http://dx.doi.org/10.19195/2083-5345.9.9.

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Change of rhetoric of Ukrainian football fans during social and political events in Ukraine in 2013–2016In Ukrainian society football fans environment is usually perceived in a negative way — first of all due to its characteristic verbal aggression and rude behavior at the stadiums and beyond them. In Ukraine, like in all the other European countries, movements of football fans have never been aside from politics: they always emphasized their national identity, actively reacted to social and political events in the country, declared aggressive attitude towards fan movements which professed left views. Change of verbal aggression and traditionally hostile attitude towards rival fan groups happened in fans environment in 2013–2014, when in Ukraine Revolution of Dignity took place and fans were the first to defend its values. February 13, 2014 Manifesto of football fans was publicized which bears witness to transformation of traditional rhetoric of fans. Provisions of the Manifesto under the name of “A fan to another fan is like a brother and a friend from Luhansk to the Carpathians” which say about establishing of an open-ended truce among Ukrainian football ultras still hold. The aim of the article is to present change of verbal and non-verbal behaviour of Ukrainian football fans during social and political events in Ukraine in 2013–2016 and to give the examples of texts from the discourse of football fans which have become commonly recognized mottos and songs during Maidan and Russian aggression in Ukraine during 2014–2016.Зміна риторики українських футбольних фанатів під час суспільно-політичних подій в Україні 2013–2016 років В українському суспільстві середовище футбольних фанатів сприймають здебільшого негативно — як соціальну спільноту, якій притаманна словесна агресія та брутальна поведінка на стадіонах і поза ними. В Україні, як і в інших європейських країнах, рух футбольних фанатів ніколи не дистанціювався від політики: фанати завжди підкреслювали свою національну належність, активно відгукувалися на суспільно-політичні події в країні, демонстрували негативне ставлення до фанатських груп, які сповідують ліві погляди. Зміна словесної агресії та традиційно ворожої поведінки стосовно фанатів команд-суперниць відбулася в середовищі футбольних ультрас на зламі 2013–2014 років, коли в Україні відбулася Революція гідності. Фанати були першими, хто виступив на захист її вартостей. 13 лютого 2014 року з’явився маніфест футбольних ультрас, у якому помітна зміна їхньої традиційної риторики. Засади маніфесту, який має назву: «Від Луганська до Карпат фанат фанату — друг і брат», проголошували безстрокове перемир’я, що залишається непорушним дотепер. Метою статті є представлення трансформації вербальної та невербальної поведінки українських футбольних фанатів під час суспільно-політичних подій в Україні у 2013–2016 роках і розгляд текстів, які творять дискурс фанатів футболу, — текстів, які стали загальновживаними гаслами та піснями під час Майдану та російської агресії у 2014–2016 роках.

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Lozynska, Svitlana, and Oksana Sasyk. "The formation of preschool child personality by folk toys." Pedagogical Process: Theory and Practice, no. 4 (2018): 105–10. http://dx.doi.org/10.28925/2078-1687.2018.4.105110.

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This article considers the educational value of toys. Folk toys are, on the one hand, a model, an outline of life, on the other – a source of joy, cheerfulness, well-being. The role of folk toys in the moral and aesthetic education was justified and analyzed. Folk toy is one of the most effective means of aesthetic, physical and mental development of children. The selection of folk toys, which should be based on age peculiarities of the child was discovered. The main functions of folk toys were characterized. Folk toy is a heritage like a mother tongue, tales, songs. Folk toys carry children’s love, highlighted in child’s play. Folk toy carries the artistic culture of folk art, develops unique features of its people aesthetics. The use of folk toys in kindergarten, in the family, diversifies the gaming activities of children, help them to enrich, expand the world cognition and its people, develop its classical skills for national, economic and social culture. Formation of knowledge about the folk toy is based on the perception of children’s cognitive, aesthetic, moral, emotional content, an adequate understanding of its cultural and historical significance. National toy stands in the pedagogical process as a type of artistic creation that combines the material and spiritual achievements. Toys are a special type of artistic creation that integrates various types of folk art, combining the material and spiritual achievements of the Ukrainian culture, contributes to the formation of creatively active person, successor of folk traditions. The metaphorical and imagery aspect of toy makes it a panacea for social adaptation to a particular stage of human development, for conveying, assimilation and revival of material and spiritual folk culture, while other means are inaccessible.

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Gerdova, T. S. "Theater Art in Oleksandrivsk (Zaporizhzhya): end of the 19th – beginning of the 20th сenturies." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 228–45. http://dx.doi.org/10.34064/khnum1-57.14.

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Introduction. Theoretical background. The territorial formation and economic development of Оlexandrivsk and the district is associated with the activation of social, including artistic, life all aspects in the Russian Empire. The creative potential of small towns, including Olexandrivsk, has become a fertile ground for the development of the principles and means of theatrical and stage creativity. Theater, as the most democratic form of art, is directly connected with changes in public life. The theater significant social role and insufficient knowledge on it in the Olexandrivsk conditions and its district determined the relevance of the research topic. The researches by S. Voitkovsky (2014), G. Dadamyan (1987), M. Yevreinov (2019) constitute the scientific and theoretical basis of the work. The study of theatrical art in the Oleksandrivsk (Zaporizhzhya) region is based on the works of O. Antonenko (2017), S. Grushkina (2011), T. Martynyuk (2003). The aim of the research is to study the theater art in Olexandrivsk and the district of the same name as an integral phenomenon of a certain time. The tasks of the work are determine the origins of the theater art in the region, coverage of the features of this phenomenon, identification of theater companies’ organizational forms, study of the theater groups’ repertoire and genre priorities, consideration of theater art professionalization issues in the region. The methodology involves the application of the basic dialectic principles (to reveal the internal contradictions of the research subject and the sources of its development); historical principle (to study the theater’ development as a process of changes in existence’ some forms); comparative method (to identify the theater art characteristics in the region); source study method (to create an archival and historical base for studying the problem); axiological approach (to identify of the theater artistic troupes’ value orientations in the region). Results of the research. Historical materials contain a few facts about the theatrical entertainment of the local population long before the foundation of Olexandrivsk. Similar to the more inhabited neighboring regions, in these territories the existence of a folk theater is likely, the roots of which M. Yevreinov sees in magical actions, rituals and buffoonery. The researcher considers the theater of Russia, the roots of which are in the theatrical art of Europe, to be a counterbalance to folk theater. At the state level, these traditions have been inculcated since the 17th century. This process in the region began from the time of Olexandrivsk foundation. There are two most stable groups of theater collectives in the theater environment of the region. Domestic and foreign drama and opera troupes, which were guided by the Western European theater traditions, are made up the first group. Ukrainian artists’ association and local amateur drama circles that further developed the traditions of folk theater consisted the second group. They united by the idea of national dramatic art. The factors of theater collective’ differentiation in this region are the form of organization of theater business, repertoire and genre priorities, issues of professionalization. The sole proprietorship form is characteristic for the Western European tradition collectives. In Olexandrivsk and the district, the private enterprise was the dominant form, as the most active organization type of theater business. This type of enterprise does not have the conventions of imperial, state, municipal and other theaters in terms of repertoire and personnel relations. This provided it with freedom, mobility and ingenuity. The organizational form of the partnership is characteristic for the troupes oriented towards the traditions of folk theater. Democracy of this form manifested itself in collective decisionmaking. The next factor in differentiating theater groups is repertoire and genre priorities. The Western European tradition troupes gave preference to the works of Western European and Russian authors. Ukrainian authors’ works, Ukrainian song and dance folklore dominated in the repertoire of Ukrainian associations, which continued the traditions of folk theater. These groups preferred works of a pronounced national orientation. The repertoire differences between the two groups reflected to the methods and skills of acting. It is necessary to master Italian vocal technique, classic instrumental technique, conducting symphonic skills in the Western European tradition troupes. In Ukrainian troupes’ music and dramatic performances, universal training actor is needed, equally skillful in stage speech, the folk dance, the style of folk singing. The theater groups’ genre preferences repertoire related to an orientation towards the original artistic traditions. The Western European tradition’ collectives repertoire abounded in dramas, operas, operettas and the romances, arias, opera scenes in the concert departments. The Ukrainian folk-theater tradition repertoire dominated by music and drama plays, simple Ukrainian opera and Ukrainian folk songs, romances by domestic composers in concert departments. In Olexandrivsk and the district, questions of theater art’ professionalization were not publicly raised widely. Some striving for the performances artistic level increase we can saw in the practice of inviting famous artists for touring performances. Thanks to this, acting skills, methods of working on the role and the performance as a whole enriched. Invitations to participation in the performance of famous performers of the folk-theatrical tradition to Ukrainian troupes were episodic. An indicative fact of development was the director’s position emergence in the Western European tradition troupes. Conclusions. The peculiarity of theater art in the Olexandrivsk region is the absence of a local professional theater, represented, on the one hand, by the work of guest domestic and foreign troupes, on the other – by Ukrainian artistic societies and local amateur associations. The dominant groups of groups embodied two types of theater: Western European tradition and folk tradition. These types of theater functioned in various organizational forms. Dramatic and operatic corpses of the European tradition were characterized by a form of individual private enterprise; Ukrainian groups that developed the traditions of folk theater – a form of acting society. Theater troupes of these two traditions distinguished by their repertoire priorities. The core of the repertoire of the Western European tradition groups was the Russian and Western European authors’ works. The groups, which developed the folk theater, staged mainly plays by Ukrainian and local authors. The vector of theatrical art development in the Olexandrivsk and region is not clear enough at the historical period under consideration. An organized and purposeful movement towards the theater art professionalization in the region of this historical period is not visible. Certain facts of attracting famous artists and interaction with other groups as well as the emergence of the directed theater can be considered as elements of а professionalization.

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I.V., Nemchenko. "MARINE DIMENSION OF DMYTRO SHUPTA’S STANZAS COLLECTION “AUTUMN FACET”." South archive (philological sciences), no. 86 (June 29, 2021): 28–33. http://dx.doi.org/10.32999/ksu2663-2691/2021-86-4.

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Purpose. Many writers from various epochs and countries have been admirers and propagandists of marine literature. The article examines the marine motifs and images of the Ukrainian poet Dmуtro Shupta’s lyrics in the early 21st century. The purpose of the work is to analyze the marine space in his stanzas collection “Autumn facet”.Methods. The elements of the following methods are used in the research: aesthetic (allows analyzing each text as a phenomenon of literature and art), hermeneutic (ensures free and open interpretation of texts with the possibility for new explanations), biographic (helps to describe autobiographic features in the writer’s literary works), intermedial (systematization of various elements of marine, musical and artistic presence in the lyrics of the poet), comparative (provides wide possibilities for the coverage of interdependence between poetry, music and painting micro-images), intertextual (links between writer’s poems and folklore songs and literary tradition), textual analysis (for coverage of the main motifs of stanzas collection). The research is based on the general method of analysis, synthesis, observation, selection and systematization of the material.Results. The effect of a hero’s co-living with the environment depicted by the author, with the marine environment in particular, is characteristic of D. Shupta’s stanzas collection “Autumn facet”. The article finds out that the Ukrainian writer has delicate understanding of music and painting, and can embody it in his own marine texts, combining different artistic elements. He uses auditory, visual and tactile impressions. Marine motifs and images of the literary works of D. Shupta play an important role in the creation of the artistic image of the world by verbal means. Marine space in his interpretation is a symbol of the nature and the world of human passions and life difficulties, their creative sources and ruinous essence. Shupta’s marine works combine real and fairy plans, have characteristics of legends, tales and mysteries. Close relations between the writer’s marine poetry and Ukrainian folklore songs and literary traditions are traced in the article.Conclusions. D. Shupta’s stanzas collection «Autumn facet» is an original artistic work on the crossing of literary, musical and descriptive imagery. The author presents different variants of stanzas, proposes many marine motifs, images, attributes, his own vision of the sea in its power and beauty. The collection confirms that the poet appertains to the best representatives of the national and the world marine literature.Key words: motif, image, metaphor, symbol, poetry, music, painting. Мета. Морська тематика є однією з найулюбленіших у доробку багатьох митців різних часів і країн – шанувальників і пропагандистів літературної мариністики. У статті розглядаються морські мотиви та образи в творчості українського поета Дмитра Шупти початку ХХІ століття. Метою нашої статті є висвітлення особливостей художнього осмислення мариністично-го простору письменником у його збірці стансів «Осіння грань».Методи. У статті використано елементи таких методів: естетичного (забезпечує розгляд творів митця як літературно-мистецького феномену), герменевтичного (пропонується вільна інтерпретація текстів із можливістю подальших витлумачень), біографічного (простежуються риси автобіографізму в поезіях співця), інтермедіального (здійснюється систематизація різноманітних мариністичних, музичних, живописних елементів, наявних у текстах поета), компаративного (висвітлюються взаємозалежності та взаємовпливи між поетичними, музичними, живописними мікрообразами), інтертекстуального (звертається увага на зв’язки між віршами митця та українським фольклором і літературною традицією), текстуального аналізу (застосовується для окреслення провідних мотивів cтансової збірки). Дослідження засноване на загальнонауковій методиці аналізу, синтезу, спостереження, добору та систематизації матеріалу.Результати. Для ліричної збірки Дмитра Шупти «Осіння грань» характерним є ефект органічного вживання героя в зображуване автором середовище й це насамперед мариністичний світ. Цей нерозривний зв’язок український письменник, який тонко розуміє музику і живопис, уміє передавати через переплетіння елементів різних мистецьких стихій. Він майстерно використовує слухові, зорові враження. Морські мотиви та образи виконують важливу функцію у творенні автором художньої картини світу. Мариністичний простір у поета символізує й природну стихію, й амплітуду людських почуттів, і складний вир життя, і творче начало, і руйнівну сутність. У мариністичних замальовках збірки Д. Шупти поєднуються реальний і феєричний плани, дійсність переплітається з легендою, казкою, містичними уявленнями. У статті простежено зв’язки між віршами письменника-мариніста та українським фольклором і літературною традицією. Висновки. Збірка стансів Дмитра Шупти «Осіння грань» є самобутнім мистецьким витвором, що заснований на перехресті літературної, музичної та живописної образності. Варіюючи різні стансові форми, видозмінюючи найрізноманітніші мариністичні мотиви, образи, атрибутику, автор зумів передати своє власне бачення моря у всій його cилі та красі. Збірка потверджує належність митця до найяскравіших представників вітчизняної і світової літературної мариністики. Ключові слова: мотив, образ, метафора, символ, поезія, музика, живопис.

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Doroshenko, Valentina, and Olga Umanets. "Lesya Ukrainka’s creativity in the aesthetic parameters of modern national puppet theatre." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, no. 59 (March 26, 2021): 37–50. http://dx.doi.org/10.34064/khnum1-59.03.

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Problem statement: topicality, novelty, methodology of the research. The logical grounds of this article are a requirement of the scientific understanding of specific of Lesya Ukrainka’s work in the national puppet theatre and absence of articles from the marked question. Based on the comparative, diachronicsynchronic, historical, evolutional methods and principles of analytical and culturological approaches, the aim of the article – creation of panorama of the works by Lesya Ukrainka in the Ukrainian puppet theatre of last XX – early XXI century, with the exposure of specific of their interpretations, – is realized as an innovative element of the reseach. The results of the study. Lesya Ukrainka’s work, as a representation of the Ukrainian culture polyphony and Ukrainian nation’s mental horizons specificity, purchased sign status and meaningfulness of the modern scale conceptual, vivid, thematic and expression field for the intensive creative searches of modern representatives of national puppet theatre. Meaningfulness of the creative inheritance by Lesya Ukrainka in the context of the Ukrainian puppet theatre is certified by it representation on the All-Ukrainian festivals, and also activation of it introducing to the modern repertoire of puppet theatre. Research of aesthetic parameters of the specific versions of Lesya Ukrainka’s works allows to establish the presence of certain repertoire dominants – such as the “Forest song”; gravitation to implementation of the earlier not typical for the puppet theatre works as the “Old fairy tale”, and the creation of original presentations, such as the “Lesya Ukrainka. Woman fate”, “Lesya’s letters” (in particular, on the base of epistolary inheritance by authoress). The specifics of embodiment of Lesya Ukrainka’s works in the Ukrainian puppet theatre of last XX – early XX century lays in their inter-textual modification, gravitation to creation of associative artistic space and to use the unconventional systems of dolls (plane- silhouette paper doll in presentation the “Old fairy tale”). In accordance with originality of conceptual foundation of Lesya Ukrainka’s works – drama of ideas – the modern stage directors appeal to the dramaturgical type that marked by secondariness of eventfulness relatively to poetics based on updating of palette of facilities of expressiveness and ideological concepts. Such innovations in “re-reading” of works by the authoress is a dialogue of doll and living acting, that creates two dimensions in development of action (“Stone Lord”, “Forest song”), the symbolic manipulations with the piece of paper (“Lesya’s letters”), creation of synthetic artistic space of the spectacle, that combine light, color, elements of shadows theatre and theatre of reader, living acting, work with the dolls of different constructions and like other, and also intention to the conscious limiting of facilities of expressiveness (monochrome and maximum narrowing space of scenic action in interpretation of the“Forest song”). An innovative touch in the puppet versions of Lesya Ukrainka’s works is the accentuation of mental markers of the national worldview, saturation with the national attributes and folk rites, which to the attraction of contemporary artists to revive the sources of national spiritual culture. In the pluralism of puppet representations, Lesya Ukrainka’s work is marked by a general tendency to philosophical and innovative affirmation of the national foundations of the worldview and the creation of a synthetic artistic space. Conclusion. Lesya Ukrainka’s work is an open and inexhaustible thematic line for the modern national puppet theatre not only due to the lack of an established tradition of its embodiment. Philosophical, symbolic, appealed to the foundations of the national worldview the contents of her work and unbreakable connection of it with world art culture – the attributive features of the creative world of the writer, which determine its timeless relevance for contemporary artists, the conceptual and expressive diversity of its interpretations.

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Maslennikova, Anzhela. "Opera and Choral Performance in Mykhailo Krechko’s Work." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 131–42. http://dx.doi.org/10.31318/2522-4190.2021.130.231220.

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The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko. Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.

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Journal articles on the topic 'National songs, Ukrainian'

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