Journal articles: 'Ukrainian Folk dance music'

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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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Bondarenko, Andriy. "UKRAINIAN ELECTRONIC MUSIC IN GLOBALISATION AND NATIONAL REVIVAL." Scientific Journal of Polonia University 43, no. 6 (June 18, 2021): 9–15. http://dx.doi.org/10.23856/4301.

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The article considers the impact of globalisation and national revival processes on the development of electronic music in Ukraine. It is shown that in the early stages of development (the late 1990s – early 2000s) Ukrainian electronic music is dominated by the focus on Western European music culture, and early festivals of dance electronic music (“The Republic of Kazantip”, “Ultrasonic”) also borrow Russian traditions, which indicates the predominance of globalization and peripheral tendencies in this area. At the same time, the first creative searches related to the combination of electronic sounds with the sounds of Ukrainian folklore are intensified. In particular, the article considers the works of the 2000s-2010s by O. Nesterov and A. Zahaikevych, representing folk electronics in the academic sphere, and works by Katya Chilly, Stelsi, Kind of Zero representing folk electronics in non-academic music. The aesthetic basis of such combinations was the musical neo-folklore of the last third of the XX century and the achievements of folk rock in the late 1990s. Intensification of these searches in the late 2010s, in particular the popularity of such artists as Ruslana, Onuka, Go_A allow us to talk about intensifying the national revival processes in the musical culture of Ukraine and involving Ukrainian music in the world culture preserving its national identity.

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Lukava, Daryna. "TRADITIONS OF NATIVITY DRAMA WITHIN THE OPERA ARTS OF UKRAINE." EUREKA: Social and Humanities, no. 1 (January 30, 2021): 3–7. http://dx.doi.org/10.21303/2504-5571.2020.001564.

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The article explores the ways of development of Ukrainian nativity drama - a genre of musical art that provides an opportunity to recreate the elusive breath of time, to learn not only about the world around but also the prospects for its preservation in Ukrainian culture. For the formation and development of the national musical culture of Ukraine, the traditions of Ukrainian nativity drama, the precondition of which was the folk music of national-historical orientation, became especially important. Besides, the folklore basis contributed to the formation of some professional genres, including opera and instrumental plays. The object of the research is the nativity drama within the opera art of Ukraine. The purpose of the article is to identify the features of the nativity scene as a musical and dramatic art form, which is an original monument of Ukrainian culture. It should be noted, that the nativity scene, especially the images of the second act, the type of its drama, had an impact on the development of Ukrainian musical and dramatic theater even in the XIX century. The mentioned influence was manifested, in particular, in the musical drama "Chornomorets", "Natalka Poltavka" by Lysenko, where folk song and dance are an integral part of the action and are a means of characterizing individual characters and dramatic situations. Some features of the character of Zaporozhets from the nativity scene were developed in the image of Karas from S. Gulak-Artemovsky's opera "Zaporozhets za Dynayem". Ukrainian music and drama art with its sources are associated with the ancient East Slavic agricultural and family holidays, games, dances, in which the element of dramatization played an important role since ancient times. Christmas games with costumes, Maslenitsa farewells, spring round dances, harvest festivals, autumn-winter round dances, and weddings became a rich source for the development of musical and theatrical art of the Ukrainian people in the XV–XVI centuries. To sum up, we can conclude that for the formation and development of the national musical culture of Ukraine in the XIX century, the Ukrainian opera became especially important, the precondition of the one was the folk music of national-historical orientation. Also, the folklore foundations, in particular the nativity scene, served to form professional genres including opera and instrumental plays. The study can be applied to prepare students and graduates in the field of Historical Sciences, Musicology, and Culturology. The significance and influence of nativity drama on the opera art of Ukraine have been studied, where the traditions of Ukrainian nativity scene, the precondition of which was the folk music of national-historical orientation, have been singled out. The study can be the basis for further study of the Ukrainian nativity drama of the XX–XXI centuries.

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O.O., Tarantseva. "ESTABLISHMENT AND DEVELOPMENT OF NATIONAL FOLK STAGE CHOREOGRAPHY." Collection of Research Papers Pedagogical sciences, no. 90 (November 4, 2020): 119–23. http://dx.doi.org/10.32999/ksu2413-1865/2020-90-19.

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У статті проаналізовано джерела та історичні передумови розвитку національної народно-сценічної хореографії. Визначено етапи становлення й розвитку виконавської школи народно-сценічного танцю та балету в Україні, відповідно, проаналізовано зміст та форми народної хореографії, визначено місце і роль танцювального мистецтва у культурному надбанні українців.Визначено плеяду видатних балетмейстерів, які внесли значний вклад у розвиток та пропаганду хореографічного мистецтва. Зокрема, відзначається праця Б. Ніжинської «Рух і школа руху», в якій висвітлюються педагогічні й естетичні погляди авторки та її увага до використання характерного тан-цю у створених нею балетах «Дванадцята рапсодія» на музику Ф. Ліста та «Похоронний марш» на однойменну музику Ф. Шопена. Наголошено про збагачення танцю новими рухами та його поєднання з виразними засобами, якими є слово, музика, світло, танцювальні костюми, бутафорія тощо, за допо-могою яких більш виразно передаються складні почуття та певні життєві ситуації.Велику увагу приділено відстеженню джерел та шляхів становлення й розвитку системи підготов-ки танцюристів від танцювальних студій і шкіл до професійних навчальних закладів та їх засновни-ків: І. Іваницького, Д. Ширая, М. Піона, В. Верховинця, М. Мордкіна, Б. Ніжинської, О. Гаврилової, І. Чистякова.Акцентується увага на побудову та малюнок українських танців (під пісню, під музику, лінійні, геометричні, коло, вуж, ланцюг, лави тощо), їх тематичну направленість (сюжетні, побутові, релігійні, патріотичні, хороводні, національні тощо).Проаналізовано виділення театрального танцю з побутового та його перетворення на самостійний вид сценічного мистецтва – балет, а також подальший розвиток балету шляхом доповнення мораль-них проблем філософськими, казкових сюжетів реалістичними, наповнення національною тематикою балетних вистав.Підкреслено, що засади, на яких ґрунтувалася виконавська школа народно-сценічного танцю на початку ХХ ст., мали глибоке історичне коріння, зокрема, народна хореографія завжди була невід’єм-ною частиною культурного розвитку українського народу. The article аnalyzes the sources and historical prerequisites for the development of national folk-choreography. The stages of formation and development of the performing school of folk-dance and ballet in Ukraine are determined, the content and forms of folk choreography are analyzed accordingly, the place and role of dance art in the cultural heritage of Ukrainians are determined.A galaxy of outstanding balletmasters who have contributed significantly to the development and promotion of choreographic art has been identified. Particularly noteworthy is the work of B. Nijinsky’s Movement and the School of Movement, which highlights the pedagogical and aesthetic views of the author and her attention to the use of characteristic dance in her ballets. Emphasis is placed on enriching the dance with new movements and combining it with expressive means such as words, music, light, dance costumes, intercommunication, etc., which more clearly convey complex feelings and certain life situations.Much attention is paid to tracing the sources and ways of formation and development of the system of training dancers from dance studios and schools to vocational schools and their founders I. Ivanitsky, D. Shirai, M. Pion, V. Verhovynets, M. Mordkin, B. Nizhynsky, O. Gavrilova, I. Chistyakov.Attention is paid to the construction and drawing of Ukrainian dances, their thematic orientation (story, household, religious, patriotic, dance, national, etc.).The separation of theatrical dance from everyday life and its transformation into an independent form of the performing arts – ballet is analyzed, as well as the further development of ballet by supplementing moral problems with philosophical, fairy-tale subjects realistic, filling the national theme of the ballet performances of “Lily” by K. Dankevych. Svechnikov, “Sorochinsky Fair” by V. Gomolyak, “Shadows of Forgotten Ancestors” by V. Kireyko, “Dawn Lights” by L. Dychko, “Kamianar” by M. Skorik.It is emphasized that the foundations on which the performing school of folk-dance at the beginning of the twentieth century was based had deep historical roots, in particular folk choreography has always been an integral part of the cultural development of the Ukrainian people.

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Yakovchuk, N. "“Little Trio” for clarinet, bassoon and piano." Musical art in the educological discourse, no. 3 (2018): 75–79. http://dx.doi.org/10.28925/2518-766x.2018.3.7579.

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The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

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Vovk, Myroslava. "Trends in Folklore Studies Development in the Research and Education Space at Ukrainian and Foreign Universities." Comparative Professional Pedagogy 7, no. 1 (March 1, 2017): 14–19. http://dx.doi.org/10.1515/rpp-2017-0002.

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AbstractTrends in development of folklore studies in the research and education space at Ukrainian and foreign universities have been analyzed. They are fundamentalization, synthesis of academic science and educational practice, professionalization, institutionalization, humanitarization, anthropoligization, interdisciplinarity. It has been defined that in Ukrainian and foreign folkloristic discourse of the 20th – the beginning of the 21th centuries, folklore is studied through the prism of functional, communicative, anthropological, context-based approaches that is partially realized in the official definition of folklore according to the 1989 UNESCO Recommendation on the Safeguarding of Traditional Culture and Folklore. It has been found out that while structuring the content of folkloristic disciplines as well as directing future specialists’ researches the multivectoring of folklore studies allows instructors to use the achievements of folkloristic directions that were formed in historical retrospective and actively developed at the modern stage: linguofolkloristics, ethnomusicology, folk therapy (folk music therapy, fairytale therapy, folk dance therapy), etc. It has been justified that folklore studies in Ukrainian and foreign research and education space is being developed as an interdisciplinary science based on the historical and pedagogical experience and taking into account modern integration processes that define the problematics of the content of folkloristic, culturological training of future pedagogue-researcher who is to be educated as a man of culture, nationally aware and, at the same time, multicultural personality.

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Khai, Mykhailo. "Musical and instrumental culture of Ukrainians as a component of the formation of national outlook." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.

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Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musical-instrumental component (herdsman’s folklore, calendarian-ritual chanting and dance). The aim and methods of the research. This article examines the phenomenon of traditional instrumentalism from the point of view of its fundamental influences on the worldviews regarding the formation and functioning of the ethnic sound of Ukrainians based on the longtime field-type, theoretical, pedagogical and practical (scientific and reconstructive musical performing) the experience of the author. The research results. Especially effective and such that, in recent years, was involved in the processes of salvation and “strengthening” (the term by S. Hrytsa) of traditional musical aesthetics, is the method of scientific and executive reconstruction of old folk music genres and forms. Systematic scientific-theoretical and structural-typological analytical work aimed at reproducing prototypes and structural details of reconstructed objects, forms, genres and actions of traditional Ukrainian musical culture, including instrumental, was reflected primarily in the research of S. Hrytsa (2000; 2002; 2015), A. Ivanytskyi (2007), I. Matsiievskyi (2012), B. Kindratiuk (2012), V. Yarmola (2014) and the author of these lines (Khai, M., 2011a; 2011b; 2013 and others). The author of the article thoroughly considers special issues of indexing musical instruments according to the system of E. Hornbostl – K. Sachs with the principle of division into classes, subclasses, categories, subdivisions; for the first time in Ukrainian ethnoorganology he carrys out a complete and consistent grouping of Ukrainian folk musical instruments. It is stated that the most important criteria of all classifications are: form, construction, structure, way of playing, repertoire, manner of performance. The criteria of traditionalism and functioning of folk instruments are determined separately (see: Khai, M., 2011a: 145–261). Based on this, Ukrainian folk musical instruments are considered in the following groups: 1) folk idiophones (self-sounding), 2) folk membranophones; 3) folk chordophones (strings); 4) folk aerophones (wind). Analyzing the existing classifications of national instrumental music, the author puts forward the thesis: areas of distribution and “density of ingrowth” of non-ethnic and authorial elements in the traditional centers of Ukrainian national instrumental music are mostly related to factors of geographical proximity, of natural extinction and administrative-repressive planting of alluvial and so-called “parallel” culture. Experiments on the instrumental traditions of Ukrainians, along with the autochthonous traditional instrumental repertoire, testify to the active functioning at the level of reception / ingrowth of works of other national origin. The interethnic and inter-genre transformation of the folk-instrumental style is connected with the spread of the Moscow, Polish, Romanian and Jewish intonation elements on the territory of the country. Touching the extremely complex and topical problems of archetypal traditional culture, interethnic relations of nations in the modern kaleidoscope of globalization processes, the article focuses on the negative (forced, administrative-aggressive absorption and destruction) and the positive (diversity, enrichment) interactions of the mentioned cultural elements. Characterizing from the positions mentioned here the main features of the ethnic sound ideal in the instrumental tradition of Ukrainians, the author defends its “European model” (tendency to cantilena sound of violin and flute ) as opposed to the type, which dominates the ethnosonic aesthetics of East – tremolo on one string. For the first time in these studies, the thesis is asserted that sounds that imitate the human voice or complement it predominate in Ukraine: flute cantilena, bandura-kobza and partly cymbal arpeggio, which differ significantly and fundamentally from the “Asian” coloristics of one-string tremolo. Conclusions. The final outcome of the study, about the cathartic function of traditional instrumentalism and musical culture in modern social-sublimation processes of human development and, conversely – about neglecting it as a manner to the complete destruction of human civilization as such, steers away from pessimism, inspiring hope for survival in the cataclysms of nature and society as a whole.

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Danylets, Viktoriia. "The hutsul music features in the structural and stylistic context of the performing folkloryzm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 77–88. http://dx.doi.org/10.34064/khnum1-57.05.

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Research objective. The article aims to describe the structural and stylistic components of performing folklorism and consideration regarding the existing definitions of multifaceted concept «performing folklorism», which represents theoretical and methodological tools for deep analysis of stylistics, genre, technical and performing elements and musical features that folklore expresses, their extrapolation to performing interpretative diversity in the context of Ukrainian music art. The methodology of the research is based on the theoretical, historical, comparative and analytical methods. The scientific novelty outlines structural and stylistic components of performing folklorism, which significantly affect the expression of national features in modern Ukrainian performing art. Conclusions. In a concept “performing folklorism” are two ponderable constituents in the dialogic form of intercommunication of these systems: professional academic performing art and folklore in his various palette of expression. Performing interpretation is a main point of arranged and ethnographic folklorism, that present performing folklorism. An important value in the context of modern national performing style belongs to the Hutsul instrumental traditional music, which is the unique artistic phenomenon of the Ukrainian musical culture. In general, the Hutsul genres played an important role in the formation and development of Ukrainian instrumental music, even though the Hutsul performance tradition mostly has an instrumental type of music presentation. The Hutsul region presents a numeral musical tool, ramified genre palette, and original stylish description that is provided due to the whole complex of structural and performing elements (strokes, articulation, fingering principles, timbre descriptions of sounding, dynamic). The outlined lines of the Hutsul folklore are traced in academic performing art. It follows to underline the originality of artistic expression and stylish originality of musical art of the Carpathian region, that predefined by the row of objective structural and style components: 1) maintenance and functioning of archaic elements of musical structure, such as a variant, improvisation, repetition; 2) considerable genre variety of executable music (kolomyjka, hutsulka, Ukrainian dance, hopak, snowstorm); 3) rhythms, as a cementing factor of musically-composition structure; 4) ornamental melodious line. The outlined structural and style components of the Hutsul folklore present wide interpretation multiplicity within the performing folklorism. The ponderable constituent of traditional music is the various system of technically-performing features. On technically-performing and genre-stylish levels, violin traditional art of the Hutsul region presents all system of the musical expressive features, presents traditional professional school of the violin performing art with a clear vector on the maintenance of archaic structures of musical compositions and them highly-artistic interpretation based on a wide palette of the whole complex of technical possibilities, that crystallized in the folktraditional performing. Ukrainian vocal, instrumental and vocally-instrumental collectives reconstruct an authentic genre-stylish model within the performing folklorism. Underlined the diversity of folk styles, symbiosis of the folk manner of singing with the academic vocal art. Thus, the national performing style provides an intelligent and deep interpretation of authorial works of folklore maintenance, a study of a wide palette of the traditional music that is characterized by ethnic characteristic intonation (concept of O. Kozarenko) musicians. The stylish component of performing folklorism presents differentiation of folk styles of implementation, following regional features, genres, forms, features of the traditional musical expressiveness. Performing folklorism, as a highly artistic phenomenon in Ukrainian music art, opened new possibilities for the representation of folk-instrumental and vocal traditions in the context of the national professional academic performing. Review and learning of the structural and stylistic components of performing folklorism, such as ethnic-regional style, genre characteristics, details, articulation, fingering, manner of play, vocal manner, dynamic nuances, timbral coloristic palette, determines the quality of the performing interpretation of the music compositions with the brightly national dominant. Within the performing folklorism crystallized appropriate professional repertoire, which comprises genres of vocal, choir, and instrumental music with the bright images and symbols of Ukrainian national folklore.

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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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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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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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Kostohryz, S. О. "Genre-style priorities for the development of composer’s work for the balalaika in Slobozhanska Ukraine." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 87–99. http://dx.doi.org/10.34064/khnum2-13.07.

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The article proposes analyze of the balalaika art and technical potential. The complex of texture- and register and timbreand phonic methods of suites performing, which represent the Ukrainian interpretation tradition of the genre, is determined. Instrumentalism principles and impacts in balalaika performance in the composer’s works of the twentieth century are revealed. Texture features of the works for balalaika suite genre are considered, the characteristics on the genesis stage of balalaika are marked: simplifi ed chord texture with narrow range, predominant two and three-voice texture in cantilena, minute passage technique with a small set of traditional rotations. Texture types of musical thematic presentment and the level of virtuosity of the stringed instruments in the sound formation are determined. The object of research is the professional performance on the balalaika. The subject of research is performing on balalaikas of Kharkiv as a component of Ukrainian musical art. In terms of instrumentalism as a type of thinking the method of sound production on the balalaika, dependent by the direct contact of the right hand fi ngers with a string, which is basic, creating countless bar, dynamic and timbral combinations, is revealed. In for balalaika M. Stetsun “With Balalaika in Spain” analyzed genre prototypes of the, that the impacts of the new romantic suite, characterized by a compound of stable (required) and free-variable cycle parts, based on the experience of the other genre forms of music-making, are immediately traced. Attention is paid to the unplugged (where violin takes the leading position), dynamic (where piano owns leading positions) and texture capabilities. Balalaika qualities are analyzed: limitation of natural acoustic properties requires texture mobility and frequent use of the tremolo; dynamic capabilities are also limited, as the result the “step” dynamics development is applied; texture possibilities are largely constrained by the range and technology. The principle of genre and stylistic synthesis, in which song and dance origins of national folklore and shaping structural logic borrowed from the experience of the Ukraine tradition are organically combined, is formulated. Multiple ties with folk traditions, which include: reliance on folklore themes and quotes; development techniques of the song thematic (inner thematic variation, imitation roll, undervoice polyphony, hidden two-voice texture); metro-rhythmic formula, coming from the dance genre; irregular accent, intended to the saturation of images with internal dynamics are revealed in the Concerto for balalaika and orchestra by A. Gaidenko. The use of styling techniques of playing folk music instruments in the balalaika party, which was used for the creation of a bright and deep national painted images typing, is specially emphasized. Overbalance of the lyrical narrative thematic invention, where folk type of the thematic invention makes to rearrange semantic accents in the genre interpretation, is identifi ed in “Variations on the Ukrainian Theme” by Gregory Tsitsalyuk. Improvisation, interpreted by the composer as a fi xed freedom, numerous brilliant colored soloist’s ritornels together with the main themes performing at the piano, broken chords, scale-wise passages – all marked methods indicate a high level of both externally-demonstrative and deep-semantic level of the music content. The arsenal of technical complexity methods of performing (articulation, strokes, complex elements), running on the disclosure of the musical work style; diversity of the texture design of musical thematic invention; genre and semantic specifi city (landscapes, personal experiences, household sketches, dance and song images), which is also connected with the balalaika specifi cs; and the dynamic profi le of musical drama cycle is detected. The idea of the historically formed specifi cs of textured and tonal articulation intoning on the balalaika in its academic status is adopted. Such levels of analysis like detection of existing texture and melodic formulas and connected with it fi ngering and articulation complex; timbre and texture and register variance confi rmed the instrumentalism genre specifi city. Articulation, timbre and texture technological formulas of balalaika performance, in terms of suite genre, which are universal from the point of view of the instrumental thinking specifi city, are found; their role in other genre and stylistic creativity conditions for balalaika are justifi ed. There are identifi ed such outlooks of research as the Concerto for balalaika and orchestra by P. Haydamakа, A. Gaidenko and the creation of a special “dictionary” as a system of typical historically selected texture and genre formulas. Piece, which reveal the balalaika evolution in the musical performing culture, served the basis for research. Current stylistic processes and their transformation in modern concert- and pedagogical practice were depicted in f piece for balalaika by G. Tsitsalyuk, P. Haydamakа, A. Gaidenko like in the mirror. Analyzed examples demonstrate the individual stylistic interpretation of genre, typical for the development of academic instrumentalism in the XX century. It was found, that art of balalaika performing infl uences the instrumental style of composing and keeps a memory of genre of composing and performing art in this sphere (methods of instrumental phonation and timbre- and phonic development).

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Bortnyk, K. V. "Characteristic aspects of teaching the discipline “Dance” to the students of the specialization “Directing of the Drama Theatre”." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 258–73. http://dx.doi.org/10.34064/khnum1-51.15.

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Background. Modern theatre education in Ukraine is carried out through the extensive teaching system, which also includes different aspects of the training of future directors of the drama theatre. Some hours in academic programmes of institutions of higher theatre education are given for plastic training, which is carried out in the lessons of eurhythmics, stage movement, stage fencing, as well as dance. As for the latter, among the whole complex of disciplines connected with moving, the discipline “Dance” has the most significant value, as choreography today is one of the most demanded expressive means of dramatic performance. In addition, knowledge of the fundamentals of choreography and its history contributes to the comprehensive development of the director’s personality, his aesthetic education, the formation of artistic taste, the ability to orientate both in traditional and innovative requirements to the choreographic component of the drama performance, to obtain a contemporary idea of the mutual influence of different art forms, so, to raise his professional development. The objectives of this study are to substantiate the features of teaching the discipline “Dance” and determine its place in the contemporary education system of the director of the drama theatre. Methods. An analytical method is used to determine the components of the discipline “Dance” in the teaching system of the students of the specialization “Stage director of the Drama Theatre”. With the help of the system approach, the place and functions of each type of choreography have been identified within the discipline “Dance”; its integrity, functional significance and perspective development in the system of theatre education of directors are demonstrated. Results. The results indicate that in the education system of the director of the drama theatre the discipline “Dance” is essential not only because of the active involvement of the choreography in the arsenal of the demanded expressive means of drama performance, but it also contributes to the comprehensive development of the director’s personality and his proficiency enhancement. In view of this, a discipline program should be formed with the basic knowledge of various types of choreography. The basis of the choreographic training should be a system of classical dance, which brings up the naturalness of the movement performance, expressive gesture and laying the foundation for the study of other types of choreography. The purpose of the historical ballroom dance is to master the character of the dance culture of a certain epoch, the ability to wear a corresponding dress, use the accessories. The study of this section should be accompanied by a conversation about the era and its artistic styles, dance fashion, special considerations on the relationship between a man and a woman in a dance. This is necessary for the future unambiguous determination of the plastic component of the theatre performance in the pieces by the playwrights of the past centuries. The folk dance stage adaptation introduces the customs and culture of different peoples. Studying of dances all nationalities does not make sense, because the spectrum of their use in performances of the drama theatre today is rather narrow. It is required to concentrate on the basic movements of Ukrainian, Russian, Gypsy, Spanish, Italian, Hungarian and Jewish dances, partly – Old Slavic. It is necessary to require of the students the correct manner of performance and form a comprehension about relevance of the using of folk dance in the context of the director’s vision of a particular performance. The need for the future director’s awareness in contemporary dance is due to the fact that its means can create the plastic component of almost any show. The task of the teacher is to train basic knowledge to the students with the obligatory requirement of the faithful character of the performance of a particular artistic movement or style, considering what is sought out in the drama theatre: contemporary, jazz, partially – street and club style. The tango, which sometimes appears in dramatic performances, should be singled out separately; it should be studied in the form of social and scenic variants with the addition of movements of contemporary choreography. In class it is expedient to use improvisation, to offer the students to make dance pieces on their own. Significant attention should be paid to the musical accompaniment of the lesson, the explanation of the tempo-based and rhythmic peculiarities of musical compositions, and to teach the students to choose the background music for their own dance works independently. It is advisable to give some classes in the form of lectures, in particular, use video lectures that clearly represent the nature and manner of performing various types of choreography. Students’ individual work should consist in consolidating practical skills, compiling own dance pieces and familiarizing with the history of choreography. The director will later be able to use all the acquired knowledge while working with the choreographer, and in the absence of the latter, he will be able to create the dance language of the performance independently. Conclusions. Thus, the dance is an integral part of the education system of the drama theatre director, especially at the present stage, at the same time, the plastic arts is one of the most important components of the performance. This necessitates the stage director’s awareness in various types of choreography in order to use the acquired knowledge and skills in the creative work. In dance class, it is necessary to form a general idea of each type of dance, its purpose, manner of performance and features of use in the performances of the drama theatre. It is essential to demand musicality and rhythmic performance, the ability to improvise. It is advisable to hold both practical and lecture classes, to assign tasks for the independent work of creative and educational content. Eventually, the stage expressiveness, the sense of form, style, space, time, rhythm in the dance, knowledge of the features of partnership and ensemble are raised with the students; the skills of working with the actors on the choreographic component of the performance and the ability to cooperate with the choreographer are formed.

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Melnyk, Alla. "Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 151–68. http://dx.doi.org/10.34064/khnum2-19.09.

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Introduction. Nowadays, continuing the neo-style trend in musical art started in the 20 century, increased attention is being attracted to the intentions of stylization and reinterpretation of a certain historical artistic models, where stylistic allusions (a kind of indirect citation, hint) use. This stylistic phenomenon has special spiritual and ethical preconditions that culturologists interpret in view of the so-called neo-restoration trends in culture. The above also applies to Ukrainian violin music, where the creative method of stylization, which has acquired such great importance in the art of the twentieth century, is actively in demand even today, in the modern postmodern style situation. Thus, the appearance of pieces in the Ukrainian violin repertoire, which even by their name declare its relation with the models of baroque genres, programming a certain creative idea, deserves to be studied in order to explore their direct relation to the original genre form and identify the algorithms for its stylization. All this, at least, will have a positive effect on the practice of the perception of stylization artifacts of a certain genre invariant, including the miniatures of the baroque type. The material of this research is the works of modern Ukrainian composers in the genre of violin miniatures, based on stylization of Baroque genre forms, which have taken a prominent place in academic musical creativity in general and in the history of the formation of the violin repertoire in particular. The stylistic variety of genre reminiscences in the Ukrainian violin repertoire is reflected in a number of materials by Ukrainian researchers (I. Andrievskyi, I. Hrebneva, V. Zaranskyi, I. Karachevtseva, V. Lapsiuk, I. Pilatiuk, S. Sandiuk, L. Skrypnyk, S. Yadlovskyi), where, in particular, the question of the demand for the so-called “violin miniature” (A. Haray, N. Pilatiuk) appears. However, the conceptual definition of a violin miniature today does not look completely methodologically adequate: the stereotypical norms of comprehending this class of genres touch exclusively the side of scale proportions, which contradicts the latest approaches to the interpretation of genre forms by the method of semantic analysis, namely, when the genre invariant is considered as a sign of a certain typed content. However, only taking into account the act of typification, the reference indications necessary for the formation of musical consciousness are established, which serve as a reliable guide in recognizing the genre nature of a work and discovering the cultural, historical and communicative ties necessary for its understanding. Thus, the purpose of this article is to reveal the peculiarities of stylistic modifications of baroque genres in the Ukrainian violin repertoire of the early XXI century and to propose methodological guidelines for analyzing the diversity of interpretations of the genre invariant under the influence of the historically actual style. The complex of the analytical methods (analysis, synthesis, induction, deduction, comparative studies), as well as the historicaltypological and the prognostic approach was used in this research. Results of the research. The examples of stylization of baroque genres prove that in the postmodern stylistic dimension the intention to genre-stylistic allusions to the historically known is an important factor in the expression of the cultureforming ties of distant eras with modernity. Quite often, the very name of the genre used by the composer gives an orientation towards the perception of the range of corresponding historical and stylistic associations. The method of stylizing baroque genres and their rethinking thanks to new means of musical expression (specific melodic development, a special character of sound production and articulation, etc.) gives vivid artistic results. The samples examined demonstrate a variety of interesting author’s solutions based on the involvement of a historical genre model. Thus, Hanna Leonova’s Toccata (2010) is quite consistent with the genre image oftoccata as a “motor” piece. However, we note that the genre form of toccata is by no means associated (at least for today) with the actual violin repertoire, especially with the miniature, since it primarily existed in clavier music (recall, in particular, the clavier toccatas by J. S. Bach), and a row of the samples has a magnificent solemnity of sound and compositional monumentality. Nevertheless, the author found the opportunities to implement the “toccata” style, hinting at the genesis of this genre (etymologically – from “touch”, “sort out”), thanks to the compositional and performance specifics – improvisation, stability of rhythmical “motor” movement and high virtuosity. In “Sarabanda” by Vitalii Manik (2013) we observe only partial keeping of the three-beat meter normative for the chosen genre model, however, with a polyphonic presentation adequate in relation to the primary stylistic modus; in “Minuet” by Oleksii Voitenko (2003) – the stylistics of “music to dance”, but within the compositional boundaries of sonatina without the developing part. Victor Telichko’s “Partita” (2011) demonstrates cyclicality and reliance on dance elements, quite characteristic of the baroque version of this genre, but embodied in Ukrainian folk material. Avoiding quotations, the author preserves the melodic-rhythmic structure of folk-song material and creates his own thematic complex. At the same time, the use of a solo violin in this work is fully consistent with the traditions of the Baroque era, namely, Bach’s partita model; that is why a kind of allusion to the genre invariant arises. That is, applying allusions to baroque genres in violin miniature, contemporary Ukrainian composers demonstrate at least two approaches: the first is stylistic adequacy to the genre invariant (in its baroque version); the second is its actual stylization with the introduction of either a certain stylistic context, or an individual author’s compositional idea. Conclusions. Thus, the new conceptualization of the violin miniature requires an appropriate research approach, the basis of which is the semantic method of analyzing the genre invariant in musical works-stylizations, which has proven its fruitfulness in the postmodern era. Since the method of stylization always provides for a special relation to the genre invariant, the constancy of which has the ability to accumulate ever new typifying meanings, only a combination of analytical discourses that take into account both the genesis of the genre form and its stylistic modifications can form theoretically verified analytical models that are useful, among other things, in the learning process, contributing to the development of the musical consciousness of the recipient – the performer and the listener.

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Fedenko, A. "The specifics of female characters embodiment in contemporary Ukrainian musicals and rock operas (on the example of Nataliya Sumska’s creativity)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 90–102. http://dx.doi.org/10.34064/khnum2-17.06.

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Background. The creative mastery process of the musical and rock opera genres has become one of the urgent vocational training problems today considering the growing popularity of these genres both in the world and in Ukrainian musical culture. There is a need to investigate the methodological aspect of professional activity in this direction like a set of requirements for the modern actor working in the music-dramatic genre. The lack of specialized literature and scientific works which investigates the embodiment phenomenon of vocal and stage images by actors in contemporary Ukrainian musicals and rock operas raises an urgent need for its consideration. Phenomenological analysis of the vocal and stage creativity of the actress Nataliya Sumska, namely, her stage works in rock operas “Eneida by Serhii Bedusenko based on the poem-burlesque by I. Kotliarevsky, “Bila Vorona” “(The White Crow”) by Genadii Tatarchenko and Yurii Rybchynskyi and “Nezrivnianna” (“The Incomparable”) Musical, based on the famous play by Peter Quilter (the composer Ivan Nebesnyi) are the material of this study. Objectives. The purpose of the article is to investigate the performing principles and vocal techniques that contribute to the embodiment of contentemotional female images characteristics in contemporary musicals and rock operas on the example of Nataliya Sumska’s acting creativity. The results of the study. The success of the Nataliya Sumska stage activity is closely related to the actress’ high level of vocal skills. Didona’s role in the rock opera “Eneida” has required from the performer a whole range of professional skills, first of all, vocal – that is, acting universalism. The vocal and stage image created by Nataliya Sumska is realized through singing, which organically combines the traditions of folk-song performance with the best achievements of the national academic and variety performing arts. The dominance of “folk” color in the sound of the voice is one of the creative tasks that the author of the rock opera sets before the actress. The bright individual “synthesizing” vocal and performing style is the original combination of ethnic origin with jazz and pop rhythms and harmonies offered by the composer, made the unique image of Didona by N. Sumska’s performance. Thus, a perfect actress’s mastery of different singing styles and the ability to use her own voice to achieve high artistic output is of great value, as composers in rock operas and musicals are constantly performing acts of styling. In the role of Jeanne d’Arc from the Ukrainian rock opera by Genadii Tatarchenko and Yurii Rybchynskyi’s “Bila Vorona” (“The White Crow”) the main features of N. Sumska’s art were clearly revealed, such as: great tragedy, heroic pathos and pathetics combined with lyric scourge and poetic sorrow. The stage techniques, by which N. Sumska created the image of Jeanne, were: enhanced sound supply and high dynamic tone of performance, expedient use of registers, expanded palette of sound dynamics and its filing (“filer un son”); going beyond the range of sound characteristic of academic vocal performance, the use of different singing styles and techniques; skillful presentation of intonation recitation gradations (from whisper to cry); possession of sound amplification equipment; maintaining a vocal line, subject to any nature of sound production; finally, acting is the ability to convey the character of the heroine through the voice, facial expressions, gestures, to make the viewer feel the pain and joy of her soul. Thus, Nataliya Sumska is fully capable of using the necessary means of artistic expression, various methods of performance, revealing the semantic and emotional content of the stage image and the work as a whole. In the “Nezrivnianna” (“The Incomparable”) Musical Nataliya Sumska embodied the comedic image of an American pianist who believed in her talent as an opera singer and one of the earliest representatives of “outsider music”. The actress brilliantly demonstrated that she was able to sing both “strictly past the notes” and only in “disgusting” voice, as her role required. She did not only change her voice for the horrific performance of operatic classics, but she was able to convey faith and belief in her own success to her Florence heroine. The actress was able to achieve great artistic power in the embodiment of the image, first of all, thanks to the mastery of vocal technique, as different modes of the larynx, specific techniques: conscious oscillation of sound, different attack power, accentuation of individual sounds, etc. Conclusions. Considered the creating specifics of vocal and stage image in contemporary rock operas and musicals by actress Nataliya Sumska, we came to the conclusion that vocal performance in modern rock operas and musicals poses special requirements for actresses. Modern musicals and rock opera demonstrate all possible polystylistic and polygenre syntheses, including the incorporation of folk and academic elements, and some genres of light music. The vocal part is complicated by changes in priorities in harmony, which is represented mainly by dissonant sounds. Accordingly, the melody of rock operas and musicals today is filled with unconventional unexpected intonations and lines, characteristic of metrorhythmic constructions. Conversational intonations, variety of singing manners and vocal techniques that form the basis of modern musical performances help to emphasize the emotional lines of the work. The presence of conversational dialogues, dance episodes with specific plasticity, the use of elements of the musical language of other cultures, a wide style range (from folklore to avant-garde, from Baroque stylings to jazz and smash hit), features of singing with a microphone – all this requires knowledge of specific acting and choreographic techniques, a good mastery of vocal technique, that is, all that constitutes professional acting universalism.

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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.

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The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.

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Belova, N. V., and O. M. Yakymchuk. "Three piano pieces of Liudmila Shukailo in the context of genre paradigm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 61–76. http://dx.doi.org/10.34064/khnum1-57.04.

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Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field of meaning around genre concept itself. We have chosen three pieces of L. Shukailo for our analysis. They have been written in Scherzo, Toccata and Rhapsody genres, tightly linked with different historical traditions, and also with the works of the greatest composers. That’s why we concider the analysis of Shukailo’s music in the context of genre tradition as an interesting and fertile perspective. Theoretical Background. There are no studies, dedicated to L. Shukailo’s works nowadays. So, this one has inevitably been a pioneering work in the sphere. At the same time, a considerable amount of literature is available about different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano technique is inherent in the nature of the genre. Quick tempo, passages, shifting of the sounds from one extreme register to another – all these virtuoso techniques of playing are characteristic of the piano Scherzo. Almost the entire arsenal of virtuoso techniques could be found in L. Shukailo’s “Scherzo”. The piece has a traditional, historically-formed, threepart recurring structure, where the contrast is not on the verge of the parts but in the very process of music development. The great potential of the instrument unfolds itself in the Scherzo. Almost the whole diapason of the piano is covered. The composer uses melodious interweaving as well as the “bell” of chords. The instrument reveals both hammering and singing nature of its sound. L. Shukailo employs rather chamber and playful type of Scherzo, characteristic of Chopin, than concert and symphonic one, typical of Liszt. Although the name of L. Shukailo’s piece is of a genre-generalizing character, the Scherzo has a striking imagery. On creating this music, the author might have been referring to some concrete content or image, but it seems she rather gave the audience complete freedom to interpret the music. The Toccata genre tightly relates to the Scherzo genre. Both genres are based on the principles of the Etude, that is, on the same vigorous movement. It is combined with hammering key-touch in Toccata. The unique feature of the “Toccata-Campana” is that, in addition to all conventional traits of the genre such as hammering key-touch, the way of the unfolding of musical material, and virtuosity, the imitation of the bell takes place here. The name of the piece itself tells us about it. The Italian word “Campana” stands for “the bell”. In its turn, it reminds the listeners of “Campanella”, the piece where the sound of the bells is imitated. The idea of the piano as of a percussion is realized in the piece in a very interesting way. It alludes to the percussion of another kind – the sound of the bell. Naturally the sound of the piano and that of the bells are different, but the piano here not only imitates the timbre of another instrument but it expresses those strong emotions the sound of bells usually evokes. Unlike the previous two genres, the Rhapsody genre is associated not with vigorous movement, typical for the Etude, but with folk music and singing. As a rule, quotations of folk music or its stylization have been used in Rhapsody. It usually consists of several contrasting episodes. Rhapsody, with its narrative character, is a detailed story, told by the singerrhapsod. We can see that the idea of instrumental mastery, virtuosity is also characteristic of this genre. Rhapsody is based on the folk songs. L. Shukayilo’s “Rhapsody” has folk components, too, but its genre affiliation can be defined rather as that of a dance. Characteristic repetitions of the same sound are associated with the percussion instrument that accompanies oriental dance. These three concert pieces for piano were created especially for V. Krainev contest. On the one hand, L. Shukailo continues the traditions of piano music, and on the other – creates its own, recognizable piano style, characterized by deep insight into the specificity of the instrument. Obviously, this explains in a great measure the repeated appeals of the organizers of the music contests to the composer for writing the pieces especially for the contests. Conclusions.The analysis of the three L. Shukailoʼs piano works, made in the article, enables us to do the following conclusions: – the pieces analyzed entirely correspond to their genre specificity that has been marked by the composer in the titles; – each of the genres has been interpreted in specific way that tells us of the author’s ingenious view of the genre; thus, in the “Scherzo” the idea of playing is embodied as a symbol of virtuosity; imitation of bell sound has been used in the “Toccata-Campana” with the purpose of emphasizing of the strike effect; and the “Rhapsody” has absorbed a lot of oriental folk dance style; – creating the sound image of piano, the composer in the same time also creates the sound image of genre in all the pieces analyzed.

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Gedi, A. "The evolution of B. Bartok’s piano style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (March 10, 2020): 45–60. http://dx.doi.org/10.34064/khnum1-57.03.

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Subject actuality. The article highlights the evolution of the compositional style of the Hungarian composer, taking into account the performance component of Bartok as a pianist. Based on existing musicological sources (works by A. Alekseev, B. Sabolcha, S. Sigitov, J. Uyfalushi, I. Martynov, I. Nestev, A. Malinkovskaya) the historical periodization of the general interest in Bartok’s work is indicated. Despite the study of many aspects of his creative activity, the performance of B. Bartok still remains without special analysis. Therefore, the process of studying the work of B. Bartok today can not be considered completed. The issues of interaction between the compositional and performance style of B. Bartok, modern interpretations of his works remain opened. The Ukrainian listener is familiar with a limited range of B. Bartok’s works, so the emphasis on the artist’s performance serves as an additional stimulus for the actualization of his art in our time. The main presentation of the material. The evolution of B. Bartok’s piano style was identified as a problem by L. Gakkel through the constituent parameters of the piano style: 1) the “realistic-non-pedal” sound image of the piano; 2) coloristic shock-noise method of sound construction; 3) textured accentuated tone as a tonal-harmonic ground. Indeed, many works of the composer testify to this interpretation of the piano: “Two elegies op. 8 / b, Burlesque three pieces op. 8c, Suite op. 14, Etudes op. 18, Sonata; three concertos for piano and orchestra. However, there are a number of works written quite traditionally, in the classical key. In these works B. Bartok uses the coloristic possibilities of the piano quite avariciously (wide range of registers, pedal effects), a striking example is the “Romanian folk dances” op. 8-a). Milestones of the piano evolution of the artist’s style are marked: Rhapsody, cycles “Romanian folk dances”. Etudes op. 18 – a sample of expressionist aesthetics, extremely complex in pianistic terms. They use extreme technical difficulties that require maximum arm stretching and great physical strength.Most of Bartok’s piano works were written in the first two creation periods – early and experimental. The composer’s attention was focused on three genre areas: folklore, pedagogics, innovation. The communicative semantics of these spheres, of course, influenced the composer’s decisions in the formative field, texture, piano technique, the level of virtuosity. The regularities are traced: B. Bartok’s “commitment” to primary (song and dance) and romantic genres (elegy, rhapsody, rich people), program cyclicity; constant interest in creating a repertoire for children, which solves two tasks at once: the promotion of folk music and the children involvement into a new musical language. Note as a contradiction the fact that the analysis of the works of B. Bartok, created in the first and second period, does not fully confirm the version of L. Gakkel, about a radicalistic change in the sound image of the piano. Probably, in B. Bartok’s work the new did not exclude the old one. The basic quality of B. Bartok’s piano style is its national characteristic, which is shrouded in the resources of the latest technique of musical composition. Conclusions. B. Bartok-pianist by genotype belongs to the Liszt’s branch of European pianism. The Liszt’s tradition is a combination of classical-romantic performing principles, which is especially evident in the works of disciples and followers of F. Busoni, K. Martinsen, K. Arrau, and G. Gould. In general, the evolution of B. Bartok’s piano style can be seen as a movement from the romantic – through folklore – to the neoclassical tradition, which is manifested in the change of musical-linguistic resources (rhythm, harmony, features of musical form, texture, melody). As a result, also the sound image of the piano was being changed. Auditory analysis of B. Bartok’s performing style allowed us to conclude that, unlike many pianists of the romantic tradition, B. Bartok uses pedal effects very avariciously, preferring clear and precise pronunciation (utterance) of all elements of the texture. We state the «imposition» of the classical tradition, which originates from harpsichordists, and new trends associated with the percussive understanding of the piano. From the point of view of the temporal organization of the musical form, his works are distinguished by metrical variability and polyrhythm; rhythmic discrepancy of textured layers; extensive use of repetition techniques and ostinato techniques. The foundations of Bartok’s mode-harmonic mentality (reliance on ancient modes of folk music; mode variability in the conditions of chromatic tonality) determine the difficulties of mastering the «intonation dictionary» of his piano works, and in general the technical equipment of the texture. Thus, Bela Bartok’s piano writing style is an expression of the artist’s innovative thinking, in which the performing component of his own abilities played a key role.

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Loutzaki, Irene. "Greek Folk Dance Music." Yearbook for Traditional Music 26 (1994): 168. http://dx.doi.org/10.2307/768264.

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Andriy, Strilets. "THE CONCERT AND PEDAGOGICAL REPERTORY OF KHARKIV BUTTON ACCORDION SCHOOL IN TERMS OF THE GENRE AND STYLE DYNAMIC." Aspects of Historical Musicology 22, no. 22 (March 2, 2021): 7–27. http://dx.doi.org/10.34064/khnum2-22.01.

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Introduction. The article is devoted to the study of the historical stages of the modern button accordion repertoire formation based on the genre and stylistic analysis of the repertoire models used in the process of teaching the students in the Kharkiv button accordion school. The actualization of the current research topic has set up a need for relying to a greater extent not on the printed sources, but on the reports of the witnesses, the first button accordion students of Kharkiv Conservatory, such as University professors Alexander Ivanovich Nazarenko, Anatoly Pavlovich Haydenko, Igor Ivanovich Kharkiv, as well as college professors Yevhen Leonidovych Vashchenko and Yevhen Heorhiyovych Malykhin, who were the first-hand participants in the process of the regional school formation. Theoretical background. Although the historiography of the Ukrainian button accordion art contains a fairly large amount of scientific and methodological studies (M. Imkhanitsky, V. Semeshko, A. Stashevsky, I. Snedkov, A. Svetov), many problems of the modern academic folk instrumental music remain unresolved. In particular, the concert repertoire formation in terms of a pragmatic dimension of the button accordion teachers approaches study within the Kharkiv school has not been the subject of a special interest of researchers in this area yet. The purpose of the research is to trace the stages of formation of the button accordionists’ modern concert and pedagogical repertoire on the basis of the genre and stylistic models’ analysis used in the process of teaching in the Kharkiv regional button accordion school. The object of the article is historical experience of the Kharkiv button accordion school as a component of academic folk and instrumental performance. Methods of research are conditioned by the material and formulation of the problem itself, in particular, a historical method is used to explain the organic connection of the facts, preconditions and personalities that brings together the historical experience of the Kharkiv button accordion school, a genre and stylistic method provides the embodiment of the performers original creative achievements. Results and Discussion. There are three main factors which have influenced the formation of the concert and pedagogical repertoire of the button accordion students of the Ukrainian Folk Instruments Department in KhNUA: ● the performing school and its genesis represented by particular teachers with their own repertoire preferences; ● improving the design of the instrument itself; ● the volume and quality of the original repertoire, as well as the productivity level and number of the composers working to develop it. Considering the general condition of the Kharkiv regional button accordion school of the 1950s, we can point out the prospects of the core guidelines underlying its basis: the formation of a list of clearly regulated and systematized program requirements; the impossibility of the requirements for the performance of genre forms (the absence of full-fledged imitation polyphony in the pedagogical repertoire) in full compliance with the “classical canons”; the predominance of small forms over large ones, as well as their obvious genre affiliation (songs, dances, marches); a significant shortage of the original works inciting the adaptation skills formation. Since the late 1960s the original pedagogical repertoire has been characterized by a great variety of genre and stylistic forms, such as a concert, a sonata, a suite, a partita, a fantasy, small cycles, a scherzo, a prelude, a concertino, a play, an arrangement of folk songs, arrangements of popular works, a concert etude. The representatives of five generations provide an inheritance of the traditions that represent the Kharkiv button accordion school creative experience and simultaneously transform it in accordance with the modern challenges. Conclusions. The conclusions emphasize the fact that the historically settled genre models of the performing and pedagogical repertoire of accordionists were established in the process of the Kharkiv button accordion school activity. The diversity of the original music for a button accordion is now represented by almost all existing genres and stylistic performance directions. It was the high culture of the Kharkiv musicians’ performance that brought the status of the academic art of playing folk instruments into a scientific level, as a new standard of sound and creative thinking.

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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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Vernyhor, Dmytro. "Ukrainian Dance – Global Hallmark (Dedicated to the Anniversary of the National Honoured Dance Ensemble of Pavlo Virsky)." Diplomatic Ukraine, no. XIX (2018): 757–66. http://dx.doi.org/10.37837/2707-7683-2018-47.

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The article is concerned with life and creative path of P. Virskyi and the ensemble he leads in the context of cultural diplomacy. The author analyses that the aspiration to create realistic and folk plays by nature has influenced the artist in his exploring and further developing the folk dance. Therefore, applying the experience of folk talents, Virskyi was committed to create characters of Ukrainian stage dance, expanded and enriched its expressiveness. Pavlo Virskyi directed some choreographic performances already in the first days of his activity as choreographer, but his actual work on the formation of the Ukrainian stage dance started in 1936, particularly following successful performance of the outstanding theatrical play “Zaporozhets za Dunaiem” (Eng. A Zaporizhian (Cossack) Beyond the Danube).In 1937, Virskyi and Bolotov organized the first ever in Ukraine folk dance ensemble and quit Taras Shevchenko National Opera and Ballet Theatre of Ukraine, where they headed a ballet group. The choreographers involved in the ensemble skilled young people as well as a team of experienced ballet dancers, among whom was M. Ivashchenko − their old friend and companion, brilliant performer of folk dances. Later B. Tairov and I. Kurylov engaged in choreographic process. The ensemble captured people’s attention, successfully performing at the VI World Festival of Youth and Students in Moscow in the summer of 1957. The group of youngsters of the ensemble attained the title of winners of the VI World Festival and was awarded gold medals and the first-place diploma (soloists V. Kotliar, L. Zastrozhnova, H. Chapkis, N. Birka, L. Sarafanov, B. Mokrov, V. Holyk). Artists of the dance ensemble of the Ukrainian SSR performed for the audience from many countries of the world: Poland, Czechoslovakia, China, Vietnam, Cuba, Angola, France, Austria, Portugal, Spain, Belgium, USA, Canada, Mexico, Argentina, Brazil, Peru, Chile, Colombia, Venezuela. All of the countries equally acknowledged the ensemble. The troupe performances abroad not only were a great success, but also sparked a massive political resonance. The national press continuously wrote about the unsurpassed art created by renowned Ukrainian choreographer P. Virskyi and his invaluable contribution to the development of Ukrainian folk dance choreography. V. Korniichuk, Honoured Journalist of Ukraine, author of the article “To pioneer of Ukrainian folk dance” noticed the festive concert dedicated to the 90-annivarsary of P. Virskyi’s birth. In his speech before the concert, Y. Stanishevskyi, Doctor of Arts, Honoured Art Worker of Ukraine, member of the International Academy of Dance, declared, “P. Virskyi is a distinguished master of choreography, director and pioneer of Ukrainian folk dance, who not only formed a unique dance group, but also glorified Ukraine on all continents by the high art.” Keywords: cultural diplomacy, Ukrainian folk dance, art, artistic view, Virskyi.

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Torp, Lisbet, and Anca Giurchescu. "Folk Dance Collections and Folk Dance Research in Denmark and the Faeroe Islands." Yearbook for Traditional Music 25 (1993): 126. http://dx.doi.org/10.2307/768689.

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Oleksandr, Matkovskyi. "Ukrainian and Slovak Folk Dance Melodies: Comparative Study." Naukovì pracì Nacìonalʹnoï bìblìoteki Ukraïni ìmenì V Ì Vernadsʹkogo, no. 59 (December 16, 2020): 45–52. http://dx.doi.org/10.15407/np.59.045.

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Loutzaki, Irene. "Folk Dance in Political Rhythms." Yearbook for Traditional Music 33 (2001): 127. http://dx.doi.org/10.2307/1519637.

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Kablova, T. B., and S. O. Pavlova. "Ukrainian folk songs in music education of pupils." Musical art in the educological discourse, no. 2 (2017): 128–32. http://dx.doi.org/10.28925/2518-766x.20172.12832.

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The article deals with the pedagogical potential of Ukrainian folk song in terms of music education of students. Folklore has always been and is one of the most powerful means of moral aesthetic education. The authors analyse the song of Ukrainian folklore and highlight the importance of folklore values: historical, philosophical, educational, moral, aesthetic, and creative ones. The main components of teaching potential of Ukrainian folk music is intonation feature, simplicity of melodies and rhythmic structure, expression and richness of melody, harmony and close relationship between poetic and musical texts, deep emotion, authenticity, profound statement thoughts, poetry, clean image, deep highly and true meaning, reflection the history of the people, their thoughts and feelings. Folk ensembels are the most accessible and authentic embodiment of the Ukrainian folk songs. Ukrainian folk music has a great pedagogical value and helps educate a highly moral individual, who would have aesthetic, philosophical and artistic aesthetic qualities; develops interest in folk music, artistic taste and imagination. On the other hand, there is a remarkable arttherapeutic component of Ukrainian folk song.

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Pliushchenko, M. Yu. "“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 124–44. http://dx.doi.org/10.34064/khnum1-53.08.

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Background. This article is devoted to the actual issues of musical interpretation in connection with one of the most common genres of modern art – genre of transcription in its various aspects. These questions are considered in aspect of genre specificity of transcription as the work with dual authorship that determines a special methodology of such musical samples study, the need of the comparative analysis of the original and transcription versions, the study of principles of composition and artistic interpretation, the manifestations of the performing characteristics in it. This field of creativity encourages researchers to study the principles of artistic thinking, inter-style communication, and virtual creative dialogue between the authors of the original and the version at all levels of musical content and form using the samples of transcriptions. The example of such approach is the given research, which studies the mechanisms of musical interpretation creation in the genres transcription and arrangement in aspect of the contemporary composing and performing practices. The object of the study is the creativity by a bright representative of the Kharkiv school of the playing on folk instruments, Andrii Strilets, the subject of consideration in this article are his orchestra transcriptions-arrangements. The purpose of the research is to determine the principles of interpretation and inter-style dialogue in the genre of transcription on the example of the musical piece “Jazz-slide” by M. Tovpeco for two accordions in the arrangement by A. Strilets. For the first time in musicology this composition becomes an object for the theoretical analysis in aspect of the artistic interpretation and inter-style dialogue in genre of transcription-arrangement. This determines the relevance and scientific novelty of the study. For the first time also, the research is focused on the multifaceted creative activity of the talented Kharkiv musician A. Strilets, which combines the various directions – composition, conducting, bayan performance and pedagogy. Results of the study. The list of the works by A. Strilets includes dozens of positions, in particular, the orchestral opuses – about 40, the vocal pieces – more than 40, there are also the dance music, vocal-choreographic compositions and others. Composer prepared for publication the author’s collection “Concert works for bayan”, which will be a musical presentation of his work. Pedagogical work of the musician is successfully combined with the performing activity. A. Strilets is a talented accordion / bayan performer (the winner of all-Ukrainian and international competitions, among them, the prestigious international competition “Vogtland Music Days” in Klingenthal, Germany; participant of tours as a bayan player-performer in Belgium, Germany, Poland, Ukraine) and conductor. He worked as a conductor at the Kharkiv City Theater of Folk Music “Oberegi”; he made a significant contribution to the creation of the “Slobozhanskii Big Academic Song and Dance Ensemble” (2011), which he conducts nowadays, and also acts as an author and arranger of a significant part of the musical repertoire of this ensemble. Being the head of the folk instruments orchestra, musician directs his actions, first of all, to improve the performing level of the musicians, to expand the concert repertoire and the genre diversity of the performed compositions, to change and complete the instrumental compositions. The study also highlights several signs of the pedagogy of A. Strilets. As a teacher, he encourages in his class the independent thinking of the performer and the searching of a reasonable interpretation, provides the information about stylistic features of works for fully disclosing of its content, he takes into account the analysis of their dramaturgy and form, carefully relates to the reproduction of author’s remarks, aims from the musicians the task of the most accurate composer’s intention disclosure. These pedagogical principles project onto the compositional features of A. Strilets’ works, which are clearly demonstrated in sphere of his arranger’s work. The study specifies a number of basic composer principles and methods used by A. Strilets in the transcription-arrangement of “Jazz Slide”. 1. First of all, the arranger updates the timbre-texture complex of the original, redistributing certain content and form-building components in the musical “space” and “time”, giving them new configurations, which leads to strengthening or, in opposite, leveling (down to rotation) of their original dramatic functions – general and minor, solo and accompanying, monological and dialogical, ensemble and orchestral, melodic, harmonic, rhythmic and others. 2. The sound-texture aspect demonstrates both smallest and systemic changes of musical and expressive complex of the original – from the separate elements to their cumulative action, which contributes to the genre-style qualities transformation of the work, strengthening the through development in it, up to the presence of signs of symphonization. 3. Hence, the genre concept of the work is updated, and it leads to the emergence of a new genre quality – “concert-ness” – and to the consolidation of the concert status of the work (which becomes similar to a concert for two accordions / bayans with an orchestra). The quality of “concert” is also achieved due to the growing role of soloists, in particular, the strengthening of solo replicas in the orchestra (separation of elements of the original melodic themes and distribution them to orchestral groups), which leads to the polyphonization of the musical facture, emphasizing (new coloring) some features of the melodic lines of the soloists and like other. 4. At the level of harmony, on the one hand, the emphasis of its original content, on the other hand, the search of its melodic potential is observed. 5. The rhythmic parameter of sound-facture complex contributes to the enhancement of genre-style semantics of the original source, taking into account its jazz “filling”. 6. Comparative analysis of the original and version reveals signs of a method of composer interpretation that involves a creative component in arranging, supplementing, and rethinking the content of the original. Conclusion. In course of studying it was found that the arranger, at the preserving of the structure of the original piece – a contrast-composite form, updates the procession-dynamic and dramatic sides of it, primarily due to the action of the timbre-texture complex as the key interpretative factor in creating of the orchestral version of the original. The prospect of the research. The considered issues require, of course, the further research – both from the point of view of the artistic significance of genres, arrangement and transcription, in particular, for orchestras and ensembles of folk instruments, and in the aspect of the action of mechanisms of artistic interpretation and the features of the transcription process, which naturally combines composer and performing arts. The work of the talented Kharkiv musician Andrii Strilets who is one of the most prominent representatives of the Kharkiv school of folk instruments, deserves a separate study.

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Racy, Ali Jihad. "Music and Dance in Lebanese Folk Proverbs." Asian Music 17, no. 1 (1985): 83. http://dx.doi.org/10.2307/833742.

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Melnyk, A. O. "Violin miniature in creativity by Liudmila Shukailo: features of the genre interpretation." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 102–15. http://dx.doi.org/10.34064/khnum2-17.07.

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Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. Homoliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.

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Kovalcsik, Katalin. "Popular dance music elements in the folk music of Gypsies in Hungary." Popular Music 6, no. 1 (January 1987): 45–65. http://dx.doi.org/10.1017/s0261143000006607.

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Gypsy folk music is of a distinctive character compared with that of the other East European ethnic communities. The pecularities differentiating it from these other forms of folk music – improvisation and a readiness to adopt new influences – have continued to be of significance. While in several cases the folk music of peoples who have established themselves in national states is kept alive by artificial means (e.g. by promoting folk singing groups, by teaching folksongs in schools and by various revival movements), the vast majority of Gypsies have preserved their traditional music as an almost exclusive musical language.

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Kunej, Drago, and Rebeka Kunej. "Dancing For Ethnic Roots:." Musicological Annual 55, no. 2 (December 13, 2019): 111–31. http://dx.doi.org/10.4312/mz.55.2.111-131.

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Folk dance ensembles within minority ethnic communities (Albanian, Bosniak, Montenegrin, Croatian, Macedonian and Serbian) in Slovenia were formed in the 1990s, after the breakup of Yugoslavia. The authors present the key reasons for the folklore activities that contributed to the emergence of the so-called minority folk dance ensembles, describe their beginnings and how they eventually became organized, institutionalized, and integrated into the amateur culture system in Slovenia. The goal of minority folk dance ensembles is to dance for ethnic roots, but at the same time, the desire to enrich the cultural space in their new county and to integrate into society in which they live.

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Smoliak, Oleg S., Anatoliy M. Bankovskyi, Oksana Z. Dovhan, Halyna S. Misko, and Natalia M. Ovod. "Stanyslav Lyudkevych’s Contribution to the History of Ukrainian Folk Music Research at the Beginning of the Twentieth Century." Musicological Annual 57, no. 1 (July 5, 2021): 177–200. http://dx.doi.org/10.4312/mz.57.1.177-200.

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The article explores and analyzes the activities of the famous Ukrainian composer, musical folklore collector and researcher Stanyslav Lyudkevych in the early twentieth century. The article presents an analysis of the ethnographic collection Halytsko-ruski narodni melodii (Galician-Rus Folk Melodies), which contributed to the emergence of a new direction in Ukrainian folk music ethnographic research – comparative musicology. In particular, this analysis explores structural and typological characteristics of Ukranian folk music.

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Pivtorak, Yuliya. "Ukrainian Hopak: From Dance for Entertainment to Martial Art." Congress on Research in Dance Conference Proceedings 2016 (2016): 299–305. http://dx.doi.org/10.1017/cor.2016.40.

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Hopak dance is one of the most visually recognizable symbols of Ukraine—either as a Soviet republic or an independent country. Men in bright colored sharovary pants performing virtuosic jumps in squatting position or effortless high leaps to stylized folk tunes is one of the most popular moving images that represent Ukrainian culture. During from the 1950s until recently, the hopak in Ukraine was performed almost exclusively as a stage dance art (unlike in diasporas where it has over time has taken on traits of social dance and event), connected with state celebrations.Starting in 1985, a new kind of hopak has been formed and implemented in Ukraine—military hopak. Its tradition is claimed to descend from the martial art of Zaporizhian Kossaks, which was lost during Soviet times and later rediscovered and renewed as specifically a Ukrainian martial art. It gained lots of publicity, fans, and practitioners in the 2000s, and it seemed that military hopak strived to replace the old, representational stage dance version of its practice, which emphasized playfulness and light-hearted character of Ukrainian folk. Hopak as a martial art refers to the heroic past of Ukraine, its identity, and uniqueness.

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Ronstrom, Owe. "Folklor: Staged Folk Music and Folk Dance Performances of Yugoslavs in Stockholm." Yearbook for Traditional Music 23 (1991): 69. http://dx.doi.org/10.2307/768397.

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Kinder, Karyna. "Modern choreological concepts of the origin of the dance «hopak»." Pedagogìčnij časopis Volinì 1(16), no. 2020 (2020): 21–26. http://dx.doi.org/10.29038/2415-8143-2020-01-21-26.

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The purpose of the article is to review the art-based approaches to the study of the historical origins and features of the Hopak dance and to analyze the semantics of its plastic symbols. The methodology. The application of the analytical principle in the study of art, philosophical, cultural approaches to delineated topics, as well as historical - in the examination of the genesis and development of Ukrainian choreographic art, made it possible to conduct a scientifically objective study. The scientific novelty of the work is that for the first time a comprehensive art study of the historical origins of the Hopak dance and the semantics of its autochthonous plastic forms were conducted. Examples of the interpretation of the name of the dance, recorded in explanatory, terminological, etymological dictionaries, are given. The paper reviews the controversy of the given subject, when considering which the author provides own point of view within the context of a number of statements made by Serhii Nalyvaiko, a studier of Indo-Slavo-Ukrainian mythology and history. Conclusions. The conducted analysis of scientific literature on the investigated subject revealed the absence of theoretical developments on the problems of semantics of choreographic plastics, compositional constructions and images of Ukrainian folk dance «Hopak». Outside the field of attention of researchers are historical and cultural foundations of the development of Ukrainian folk dance in the sense of its figurative and symbolic content. The work emphasizes: Hopak, being a symbolic code of archaic culture, adequately understood by all members of society, was later transformed into a kind of informational «ethnic code» of the nation, enabling the reconstruction of lost and forgotten folk traditions.

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Hayakawa, Yohko, Kayoko Takada, Hiromi Miki, and Kiyoji Tanaka. "Effects of Music on Mood during Bench Stepping Exercise." Perceptual and Motor Skills 90, no. 1 (February 2000): 307–14. http://dx.doi.org/10.2466/pms.2000.90.1.307.

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This study evaluated the effect of music on the mood of women during exercise. 16 middle-aged women, aged 49.9±7.53 yr., performed 60-min. bench stepping exercise while listening to Japanese traditional folk song, aerobic dance music, or nonmusic. The subjects reported significantly Jess fatigue with aerobic dance music and Japanese traditional folk song than with nonmusic. Aerobic dance music was associated with significantly more vigor and less confusion than nonmusic.

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CHEN, XUAN. "The piano accompanies music in Chinese folk dance." Convergence of Humanities, Social Science an Art’s Academy 3, no. 2 (August 16, 2019): 203–18. http://dx.doi.org/10.37846/soch.3.2.203.

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Lytvyshchenko, O. V. "O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 43–56. http://dx.doi.org/10.34064/khnum1-56.03.

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Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.

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Basirova, Karina B. "THE FOLK MUSIC AND DANCE'S AS A MEANS OF AESTHETIC EDUCATION OF THE DAGESTAN CHILDREN." History, Archeology and Ethnography of the Caucasus 16, no. 3 (November 1, 2020): 797–810. http://dx.doi.org/10.32653/ch163797-810.

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This article discusses the theoretical, educational, and educational aspects of aesthetic education of children by means of folk music and dance. The analysis of theoretical and methodological, psychological and pedagogical problems of aesthetic education of children is carried out, and effective means of using the spiritual and cultural value of folk music and dance of the Dagestan peoples are identified. Recommendations for the successful upbringing of children through folk music (song, dance) are defined. It is shown that each of the Dagestan peoples created their own original musical genres, their own instruments, their own original rituals, melodies, and dances. Song and dance, the playing of the shepherd's pipe and the beating of the drum have always accompanied the life of the highlanders. The dance of the mountaineers "Lezginka" can be called national, folk, as no holiday passes without this fervent dance. Dagestan people join the dance from the cradle and children-dancers cause the greatest delight. Through music and dance, we can develop children's aesthetic, moral, and physical qualities. A child who receives artistic, aesthetic and moral ideas at an early age, even if he later does not become a dancer or a musician, acquires openness to the world of beauty, kindness, flexibility of thinking, and sensitivity to moral and artistic values for the rest of his life.

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Людмила Щур. "НАРОДНА ХОРЕОГРАФІЧНА КУЛЬТУРА ЗАХІДНОГО ПОДІЛЛЯ: ПРОБЛЕМА РЕКОНСТРУКЦІЇ ТАНЦЮВАЛЬНОЇ ТРАДИЦІЇ." Science Review, no. 10(27) (December 30, 2019): 22–28. http://dx.doi.org/10.31435/rsglobal_sr/30122019/6864.

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Due to globalization processes in the modern society there is an urgent need to preserve and develop the cultural heritage of the Ukrainian people. Today, the scientific understanding of the development of various types of Ukrainian creative activities is especially relevant. Among the variety of artistic genres, folk choreographic culture is a striking phenomenon. However, not only the government, but also scientific and educational institutions, choreographic ensembles of both professional and amateur levels should make efforts in order to preserve and develop folk choreographic traditions in the modern socio-cultural space.The problem of dance genres restoration, where the main focus is on preserving the national choreographic culture of the studied region, remains relevant today. The purpose of the article is to recreate a complete picture of functioning of folk dance art in Western Podillya in the course of its historical development and transformation. The beginning of the study of authentic Western Podillya dance genres dates back to second half of the XIX century. It indicates the way of life and style of some traditional dance genres in the territory of the studied region. In order to highlight the problem of restoration of the Western Podillya dance tradition, we briefly summarize the genre classification and its stylistic features. In order to reconstruct the dance tradition of the region, we have organized research work of the creative laboratory, which was created on the base of the Vesnyanka dance ensemble of the Ternopil Volodymyr Hnatiuk National Pedagogical University. The structural and functional model of the activity of the ensemble-laboratory of Western Podillya ethnography in the form of a graphic image developed by us consists of two main blocks.The research has shown that due to the unity of content and form, the folk choreographic culture of Western Podillya influences the formation of personality and performs certain functions of socialization.

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Pappas, Rebecca. "The Show Must Go On: A Participatory Rewriting of Euro-American Folk Dance." Congress on Research in Dance Conference Proceedings 2015 (2015): 146–52. http://dx.doi.org/10.1017/cor.2015.23.

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My participatory paper considers Jérôme Bel's seminal work The Show Must Go On as a rewriting of folk dance tradition, drawing from and reinventing popular tropes of the Euro-American relationship to pop music and the popular body. I look at both the piece, and also Bel's methods of restaging it worldwide, as a means of regularizing, reinventing, and reperforming popular dance. I compare his practice to that of national folkdance ensembles that choreograph indigenous traditions for theatrical performance. I am fascinated with this process of fixing “cultural dance” for recognition and consumption by an audience. Bel's work depends on the audience's ability to recognize themselves within its music, imagery, and performing ensemble. Does this make it folk dance? My paper mines the category of “folk dance,” asking whether there is, in fact, a distinction between folk, social, and popular dance and arguing that in the recognizability and participatory nature of his work, he has inadvertently created a contemporary Euro-American folk dance. In addition, I will develop the presentation choreographically, directing the bodies of the listeners in ways meant to evoke Bel's participatory community.

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Furdyczko, Andrij. "FOLK MUSIC AND FOLKLORE ON THE MODERN UKRAINIAN TELEVISION." Ethnology Notebooks 136, no. 4 (August 22, 2017): 961–70. http://dx.doi.org/10.15407/nz2017.04.961.

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Ilieva, Anna. "Bulgarian Folk Dance during the Socialist Era, 1944-1989." Yearbook for Traditional Music 33 (2001): 123. http://dx.doi.org/10.2307/1519636.

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Čyplytė, Raminta. "The Interaction Among Lithuanian Folk Dance Ensembles in the Context of Cultural Education: Directors’ Attitude." Pedagogika 114, no. 2 (June 10, 2014): 200–208. http://dx.doi.org/10.15823/p.2014.017.

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The article aims to reveal features and expression of the interaction between the state song and dance ensemble “Lietuva” and folk dance ensembles of higher education institutions in the process of youth cultural education. Since this aspect has not been analyzed in detail, the research was held among directors of folk dance ensembles of higher education institutions and the state song and dance ensemble „Lietuva“ and attempted to reveal two perspectives.The questioning of the directors showed that the interaction between ensemble “Lietuva” and folk dance ensembles of high schools in the context of youth cultural education exists and appears through folk dance ensembles connecting factors such as: genre of folk dance, common cultural activities and repertoire as well as common content of education which includes teaching methods, dance technique and its evaluation, other problems and relevant topics which forces to attract attention to the peculiarity of folk dance and its promotion in the contemporary cultural context.Directors of the ensemble “Lietuva” and high school ensembles stated that the ensemble “Lietuva” is still relevant today and actively participate in the cultural education of young people through folk dance, song and music hereby preserving national traditions and customs.

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Jain, Nisha. "RAJASTHANI FOLK MUSIC IMPACT ON SOCIETY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3464.

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Rajasthan has always been a subject of curiosity for tourists, musicians, craftspeople etc. due to the originality of its civilization and culture in the states of India. The culture of Rajasthan is unique at all times for food, clothing, dance, music and folk songs. The treasury of regional living, food and folk songs is hidden in the cultural culture flourishing in Rajasthan. The rituals here are the center of attraction for women living in the way of living, dress, bright colors, Teej festivals, fairs, festivals, and the men and sarongs that are tied on the head. Rajasthani folk music is sung and played on all special occasions. The dance dramas in Rajasthani songs in the same colorful costumes captivate the minds of the audience. भारत के प्रदेषों में राजस्थान अपनी सभ्यता एवं संस्कृति की मौलिकता के कारण सर्वदा से पर्यटक, संगीतकार, षिल्पकार आदि के लिए कौतूहल का विषय रहा है। राजस्थान की संस्कृति खान-पान, वेषभूषा, नृत्य, संगीत एवं लोक गीतों के लिए प्रत्येक समय में विषिष्ट बनी हुई है। राजस्थान में पल्लवित लोक संस्कृति में क्षेत्रीय रहन-सहन, खान-पान व लोकगीतों का खजाना छिपा हुआ है। यहाँ के रीति-रिवाज रहन-सहन, वेषभूषा, चटकीले रंग, तीज त्यौहार, मेले, पर्व में पहनावा तथा सिर पर साफे बंधे हुए पुरूष एवं घेरदार लहँगे में महिला षहरवासियों के आकर्षण का केन्द्र होती है। राजस्थानी लोक संगीत सभी विषिष्ट अवसरों पर गाए एवं बजाये जाते हैं। राजस्थानी गीतों पर वहीं की रंगीन वेषभूषा में नृत्य नाटिकाएँ दर्षकों का मन मोह लेती हैं।

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Vovchak, Andriy. "Scientific Work of Iryna Dovgaliuk in the Field of History of Ukrainian eth- nomusicology." Ethnomusic 16, no. 1 (2020): 16–62. http://dx.doi.org/10.33398/2523-4846-2020-16-1-16-62.

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The article offers an overview of 30 years of scientific activity of Lviv ethno- musicologist Iryna Dovhaliuk in the field of history of Ukrainian ethnomusicology. The multifaceted creation of the researcher has been revealed in the main prob- lematic and thematic areas, taking into account the time dynamics of the studio deployment. Among the considered directions: a) musical and ethnographic activity of Ukrai- nian folklorist Osyp Rozdolskyi: b) history of publication of Ukrainian folk music; c) folkloristic activity of Filaret Kolessa; d) history of phonography of Ukrainian folk music; e) folk music archiving (phonoarchiving). Peculiarities of the research style of Iryna Dovhaliuk, theoretical and metho- dological and applied tools of her historical searches have been traced. Emphasis is placed on the scrupulousness and diversity of source studies of Iryna Dovhaliuk, the focus on maximum objectivity and provability of scientific conclusions; on meticu- lous attention to the smallest facts on the research problem in order to trace its de- velopment as fully as possible and on this basis to comprehensively understand the general tendencies; on a wide amplitude of historical and theoretical generalizations of the processes of formation and development of Ukrainian ethnomusicology in a broad comparative context with similar processes in the world music folklore studies. Special emphasis is placed on the active scientific and socio-cultural position of the researcher, and in particular on the unique projects of Iryna Dovhaliuk for Ukrainian science to preserve and introduce into scientific circulation the musical and ethnographic heritage of Ukrainian collectors, in particular valuable collections of phonorecords of Ukrainian folk music of the first half of the twentieth century. The review has been prepared mainly on the basis of printed publications of Iryna Dovhaliuk, as well as the analysis of her research and promotion projects and events.

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Cohen, Selma Jeanne. "4th World Conference on Folk Dance: Dance-Music in Folk Culture (International Organization of Folk Art, Larissa, Greece, 16–20 May 1990)." Dance Research Journal 22, no. 2 (1990): 47–48. http://dx.doi.org/10.1017/s0149767700002643.

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Hoppu. "Folk Dancers Cross-Dressed: Performing Gender in the Early Nordic Folk Dance Movement." Journal of Folklore Research 51, no. 3 (2014): 311. http://dx.doi.org/10.2979/jfolkrese.51.3.311.

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Valentsova, Marina, and Ludmila Vinogradova. "Folk Carpathian-Ukrainian demonology: motivational-functional research method." Journal of Ethnology and Culturology 29 (August 2021): 44–52. http://dx.doi.org/10.52603/rec.2021.29.06.

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The traditional way of describing and researching national demonological systems is the character approach. The article attempts to substantiate another possibility of studying Slavic demonology – through the concept of a mythological motive. The motive is understood as a semantic predicate of demonological narratives of various kinds, the minimal meaningful unit of plot composition (including motives-actions, motives-situations, motives-descriptions etc.). The composition of motives in each mythological tradition is unique and can be used to understand the mentality of the people, their way of perception of the world and their attitude to the world. The article describes, with varying degree of detail, some of the motives characteristic of the Carpathian-Ukrainian demonology: motives “to scare a person”, “to lead astray”, telling fairy tales as a protective charm, substitution of babies by demons, motives of double-mindedness, gaining magical power against hail, a circular dance of forest demons and a number of others. Among them, there are world-known, all-Slavic, actually Carpathian-Ukrainian and also Carpathian-Balkan motives. An analysis of these, as well as of other motives, contained in mythological narratives from the collections of V. Hnatiuk, V. Shukhevych, A. Onyschuk and others, allows us to realize the specificity and uniqueness of the Carpathian Ukrainian tradition, and can also provide material for conclusions of an ethnogenetic nature.

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Nahachewsky, Andriy. "Once Again: On the Concept of "Second Existence Folk Dance"." Yearbook for Traditional Music 33 (2001): 17. http://dx.doi.org/10.2307/1519627.

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Journal articles on the topic 'Ukrainian Folk dance music'

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