Academic literature on the topic 'Ukrainian National songs'
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Journal articles on the topic "Ukrainian National songs"
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Klieshchova, Oksana. "Ukrainian song phenomenon (on material of song «noise» performed by band «Go_A»)." Linguistics, no. 1 (43) (2021): 77–87. http://dx.doi.org/10.12958/2227-2631-2021-1-43-77-87.
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Purpose: to investigate the Ukrainian song as means of consolidation of nation and find out, what the phenomenon of the song «Noise» performed by the band «Go_A» consists in. Research is carried out by means of descriptive method, it is made theoretical analysis of literature, critical analysis of researches, it is applied the method of selection and systematization of material, the method of supervision, synthesis. Folklorists have already been studying the song «Noise» over one hundred and fifty years: 1) it was investigated by М. Maksymovych, B. Hrinchenko, М. Hrushevskyi and others; 2) the «Noise» is a very old Ukrainian vesnianka (spring folk song) that originates from pre-christian times and rituals related to nature, with its spring awakening; 3) the «Noise» is personification: well-organized energy, green forest, character of noise of the first spring greenery, God of the forest. Haivka (spring song) is the ancient name of round dances that was saved yet from the time, when our ancestors carried out ceremonial songs and dances in the protected groves round sacred trees. Aboriginal vesnianky (spring folk songs)-haivky are syncretic – singing and motion, words and action, song and dance are combined in them. Phenomenon of the song «Noise» that was presented on a song competition Eurovision by the Ukrainian electro-folk band «Go_A», consists in that on a background of «sleek and inexpressive pop songs» that sounded mainly in English, Ukrainian performers, leaning against old Ukrainian folklore traditions, offered to Europe Ukrainian powerful and catching «spring hymn» in a style of techno, that was perceived with gladness and fascination by European listener audience. Thus, firstly, Ukrainian haivka (spring song) became a world hit in 2021; secondly, the band «Go_A», keeping national identity, popularizes Ukraine, Ukrainian language and Ukrainian song; thirdly, it consolidates Ukrainian society; fourthly, it engages young people in patriotic education. Summarizing, it is possible to establish with confidence: 1) Ukrainian language and Ukrainian song are indivisible as they are organically interdependent and are the basic criteria of originality of nation; 2) the Ukrainian song as well as language unites nation; 3) we found out, firstly, that the old Ukrainian vesnianka (spring folk song) «Noise» became the basis of the song «Noise» of the Ukrainian band «Go_A»; secondly, we made sure that vesnianky (spring folk songs) and haivky (spring songs) were not identical concepts, as varieties of vesnianky (spring folk songs) are haivky – songs that were performed only in time of the Easter holidays; vesnianky (spring folk songs) are a cycle of spring songs that are sung from the Annunciation.
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Syvachuk, Natalia. "THE CONCEPT OF «NIGHTINGALE» AND MENTAL FATE OF UKRAINIAN PEOPLE." Philological Review, no. 1 (May 31, 2021): 185–95. http://dx.doi.org/10.31499/2415-8828.1.2021.232738.
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The article deals with the nature of the concept of «nightingale» in Ukrainian folk oral poetry, in particular in lyrical songs, love songs. «Nightingale» is considered as a traditional symbolized object of Ukrainian poetic worldview, as a «key» character in the context of the national picture of the world; it is emphasized that in the XXI century the processes of integration of sciences are intensified; the similarity of the rhythmic structure of nightingale song and human speech is explained. For this purpose, the data from recent studies by ornithologists have been used. Attention is drawn to the fact that nightingale strengthens the mood of people in love with his singing. In love songs, man and bird sound in unison, thus creating a state of happy heavenly harmony – a special interaction of man with the environment. The data of ornithologists’ researches on the genetic connection of man with the sounds made by birds are given. An analogy is made between the creative potential of man and nightingale, between their repertoires, the sequence of works performing, their architectonics «introduction – refrain». An attempt to scientifically comprehend the impact of nightingales on humans and their health is made. It is concluded that the concept of «Nightingale» in Ukrainian folk oral poetry belongs to the «key» invariant characters-symbols and is an important component of Ukrainian national view of the world. The character of the nightingale is pervasive in Ukrainian folk songs about love. The voice of a bird in the minds of Ukrainians is associated with strong emotions: joy, love, sadness, grief, despair and others.
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Vasylevska-Skupa, Liudmyla, Iryna Shvets, and Lidiia Ostapchuk. "WAYS OF FORMATION OF NATIONAL SELF-CONSCIOUSNESS OF THE GROWING GENERATION BY MEANS OF UKRAINIAN MUSICAL ART." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 99–103. http://dx.doi.org/10.36550/2415-7988-2022-1-204-99-103.
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The article considers the historical aspect of educating the national identity of the Ukrainian people. The views of scholars on the concept of «national identity», its features, significance in the socio-cultural and pedagogical context. The importance of Ukrainian folk art, its huge potential for educating the national identity of the younger generation is substantiated. The role of national song folklore in patriotic education of students, features of musical language (coded codes), which formed the «national musical genotype» as a set of hereditary musical structures and means passed down through the generations, forming its unique mentality and national character. It is determined that the song, influencing the emotional – sensory sphere of man, causes empathic experience of his artistic image. At the same time, there is a process of «inner intonation», ie reflexive, unconscious singing of the listener with the sounding work. Therefore, during individual classes of students in classes on «choral conducting», «voice» «future music teachers got acquainted with the peculiarities of Ukrainian folk culture», folk vocal music, educational influence of song folklore on the spiritual development of students, namely the education of patriots of our state. During the «Folk Singing Workshop» students had to record 5-10 songs of their region, learn about the peculiarities of the singing style of different regions of Ukraine, decipher their melodic coded codes and analyze the figurative content of the musical work. While studying the normative discipline «Theory and Methods of Music Education» students got acquainted with the features of musical folklore – the treasury of age-old traditions of the Ukrainian people, with types of folklore activities: folk epics (proverbs and sayings, fairy tales, legends, historical songs, etc.). At the same time, it is necessary to study folk songs, to continue the search for coded codes in the musical language of song folklore, which reported on the mentality, the characteristics of the national idea of the Ukrainian people. At the same time, it is necessary to study the peculiarities of the phenomenon of «national consciousness» and the ways of its development.
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Zadorozhna, Tetyana. "THE SEMANTICS OF THE ACADEMIC SONGS AS A SIGNIFICANT FORM OF UKRAINIAN MUSIC COMPOSITION: EPISTEMOLOGICAL ASPECT." Baltic Journal of Legal and Social Sciences, no. 2 (October 25, 2022): 65–70. http://dx.doi.org/10.30525/2592-8813-2022-2-11.
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The Ukrainian academic song is a phenomenon that clearly demonstrates the significance of the ethnic national identity of Ukrainian music composition. Its origins are obviously Ukrainian folk songs, which determined the stylistic roots of Ukrainian chamber vocal lyrics with its genre stylistic diversity. And therefore, the importance of posing the problem lies in the fact that a certain system of its genre stylistic specialization was formed from among the genre varieties of Ukrainian chamber solo singing, which was discussed in the research of S. Lyudkevych regarding the solo songs of M. Lysenko to the lyrics of T. Shevchenko. Therefore, continuing the research traditions of the Galician scholar, as well as taking into accopunt modern analytical works, an updated view is offered regarding the genre stylistic priorities of Ukrainian academic songs. Research methods used are analytical and discursive, which means a logical elaboration of the existing research on the problems of generic specialization of chamber vocal lyrics as a whole. It is to be hoped that the selected research approach will be favorable for a heuristically fruitful and epistemologically plausible interpretation of the mental specificity of the Ukrainian academic songs.
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Osypenko, V. "Ethnoaesthetics of the Ukrainian folk song tradition in the performance of the singer Oksana Mukha." Culture of Ukraine, no. 72 (June 23, 2021): 124–30. http://dx.doi.org/10.31516/2410-5325.072.17.
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The topicality is associated with the need for musicological understanding of the value categories of ethnoaesthetics in the creative activity of singers that represent the Ukrainian folk song tradition in modern variety vocal art.
The purpose of the article is to identify ethno-aesthetic value components in the performance of O. Mukha as a personification of the uniqueness of the Ukrainian national expression.
The methodology consists of scientific works of prominent Ukrainian scientists devoted to the study of ethno-aesthetic ideas and criteria in the traditional songs of Ukraine (Y. Harasym, T. Orlova, V. Lychkova), as well as genre-style and performance specifics of Ukrainian musical folklore (K. Kvitka, F. Kolessa, A. Ivanytskyi, S. Hryts).
The results. The artistic imagery of the iconic folk songs of O. Mukha repertoire, which is a part of the ethno-aesthetic fund of the Ukrainian folk song tradition, is considered. The general features of ethnoaesthetics of the folk song performing tradition of Ukraine, including its vocal and technical component are outlined.
The novelty. The article considers the performance of O. Mukha for the first time and reveals ethnoaesthetic value components in it.
The practical significance. The study of the essence of folk singing as an art with its own artistic and value component, based on an established system of qualitative components of ethnoaesthetics, as well as the study of performing experience of prominent Ukrainian folk singers are the necessary practical material for creating a scientific basis and general methodology of folk vocal art.
The conclusions. Musical ethnoaesthetics as a component of traditional culture covers the semantic field of songs, concentrating on the structure, rhythmics and size of a poem, the richness of national melos, its intonation and tonality basis. Ethnoaesthetics of the folk song tradition of Ukraine is manifested in the uniqueness of the national expression, namely: vocal-timbre color of sound, in the peculiarities of intonation, freedom of metro-rhythmic movement, variability and melismatic richness.
In O. Mukha’s works, the creation of the sound matter of the modern performance version of a folk song is based on the perception of song intonation as sound emotion and understanding of the boundless ocean of ancient symbols of the national musical language, which during centuries has crystallized in the folk song tradition. Her works grow out from the reflection on the national song culture and traditions of her family. Work on each ancient relict of tradition is based on discovering the potential of the power of its aesthetic, spiritual and emotional impact on listeners, perception of the stock of expressive possibilities.
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NABOK, Maryna. "ETHNOTYPE OF HEROES IN UKRAINIAN NATIONAL DUMA AND KURDISH NATIONAL SONGS." Ethnology Notebooks 149, no. 5 (October 22, 2019): 1185–90. http://dx.doi.org/10.15407/nz2019.05.1185.
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DEM’YANKO, N. "COMPONENTS OF NATIONAL CULTURE IN PEDAGOGICAL HERITAGE AND ACTIVITY OF V. VERKHOVINETS." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 22 (November 7, 2018): 81–86. http://dx.doi.org/10.33989/2075-146x.2018.22.185019.
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The article considers the components of national culture as theoretical foundations of pedagogical heritage and activities of the outstanding Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composerV. Verkhovynets. These include folklore, musical, choreographic and dramatic art. The essence of Ukrainian folklore as a form of social consciousness and its national peculiarities is revealed. The criteria of distribution of folklore to genres are given (by discharges, means of artistic expressiveness and the nature of their combination). Epic prose and song genres are described. The specifics of using animal tales by the teacher are revealed. The author analyzes artistic features of lyrical genres: songs (labor, charm, anthem, heroic, elegiac, humorous); musical-choreographic (domestic dance, plot dance), song and choreography (dance song, round dance, choral and play song). Dramatic genres (ceremonial games, folk games, folk drama) are described. The educational value of Ukrainian folklore, musical and choreographic art is revealed. The peculiarities of their application by V. Verkhovynets in work with student and student youth, with artistic theatrical, choral and choreographic groups are analyzed. The role of choral art in the educational process was identified and its place in the work of the teacher was determined. The results of implementation national culture’s components in its theoretical activities (creation of scientific works "Ukrainian Wedding", "Theory of Ukrainian folk dance", "Vesnyanychka") are highlighted.
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Saifutdinova, Olena. "VERBALIZATION OF THE AXIOLOGICAL MODEL OF THE ANDALUSIAN GYPSIES AND UKRAINIANS BASED ON WEDDING SONGS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 41 (2022): 123–32. http://dx.doi.org/10.17721/2663-6530.2022.41.12.
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This article is devoted to the analysis of the representation of axiological values by means of the popular ritual wedding songs of Andalusian gypsies and Ukrainians. Axiological values shown through the text of the wedding songs of Andalusian gypsies and Ukrainians are considered. The ways of language expression of both national ritual songs are estimated. The research reveals the values expressed via metaphorical images, symbols and periphrasis which codify popular language. Similar frames of Andalusian gypsy and Ukrainian wedding songs are discovered. It is observed that such family values as chastity and welfare are pictured with the use of expressive means of the language in both ritual wedding songs of Andalusian gypsies and of Ukrainians. The cultural nature of appreciation of these axiological values is studied. Tentative mechanism of influence of the wedding songs on the younger generation is explained. A great educational power and an important pedagogical role of the wedding songs are highlighted. It is concluded that ritual wedding songs are a powerful medium (channel) of saving the traditional axiological model, behavior patterns, esthetic and moral values. The directions of further scientific research are considered:1) they may include a study of the psychological mechanism of metaphor, periphrasis and symbols in ritual songs and lullabies of both cultures or 2) they may involve an experimental study between the people of different cultures to know how they understand the metaphor formed in national and foreign cultures.
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Szurmińska, Hanna. "THE LITERATURE GROUP „ZEWONIA” HISTORY AND FOLKLORE." Polish Studies of Kyiv, no. 35 (2019): 424–27. http://dx.doi.org/10.17721/psk.2019.35.424-427.
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The article analyses the group of writers «Ziewonia», in the work and activities of which Slavophile ideas have strengthened through cycles of translations, songs and dumas. It reveals interest in the culture of the Slavic people in the 30s of the 19th century. It analyses the idea of national identity and ethnic culture using a differentiated approach to the phe- nomena of literary folklore, which becomes the main motive of «Ziewonia». The level of Ziewonia’s comprehension in Polish science is not significant yet but still to be more learned than in Ukrai- nian science. The article is said about the first period of the XIX century which is characterized by emergence of artistic achievements as exemplified by the interaction of intercultural literature. The Romantic era encouraged the first contact and special activity of folk Ukrainians interested by young Polish writers who are called in the Polish history of literature «Ziewonia». The main representatives were Augustin Bielovsky (the critic and translator, the employee of the Ossolineum institution), Josef and Alexander (Leshek) Dunin-Borkovsky (writers and critics), Lucian Semensky (the poet and novel- ist), Kazimiezh Vladislav Wojcicky (collector of folk songs) and Ludvik Jablonsky (also the critic of Ukrainian literature), finally the Ukrainian writers called the «Russian Trinity», the organization which united enthusiastic researchers of Ukrainian folklore. It is found out that main activities of this Slavophil group were translation and popularization of literature merits. They gave exemplary translations of important Slavic works such as: «Krolodworsky Manuscript», «Zielona Gora Manuscript», selected sonnets from «The daughters of Kollar’s fame», the significant number of Serbian folk songs, many Ukrainian poems and «The Tale of Igor’s Campaign». Folk society and folk songs were glorified and stylized. The key findings of the research prove that deep and intensive relationships between different literacy circles (Ukrainian and Polish) collaborated the future mutual writer’s group for the next historical period.
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TREHUBOV, Dmytro, and Iryna TREHUBOVА. "SELF IDENTIFICATION-OF THE UKRAINIANS TROUGH PINING FOR THEIR NATIVE LAND (ON THE MATERIAL OF FOLK ART)." Astraea 2, no. 1 (2021): 96–114. http://dx.doi.org/10.34142/astraea.2021.2.1.06.
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The scientific novelty of this study is determined by the acute topicality of the studies concerning self-identification of the Ukrainians. Leaving the native land allows a person to better understand his/ her inner self. In the creative heritage of Ukraine, there are many mentionings of the types of separation from the native land and the reflection of personal attitude to it. Manifestations of this cultural phenomenon in different types of literary creativity are given close attention. The causes that add to the pining for the native land are classified, and their reflection in the literary heritage of the Ukrainian people is revealed. It is emphasized that for Ukraine, more often than for other states, this issue has repeatedly become relevant at different times. A new type of separation from the native land has been identified: the forced loss of the native language on one’s own land. It is emphasized that some songs contain direct instructions to the listener on the principles of maintaining national identity. For example, the found version of the song “The falcon and eagle became friends” contains a new stanza with the request: “Teach my children / In a foreign land / not to seek for happiness”. In the context of modern Ukrainian cultural background pining for the native land becomes topical, and the concept of “evshan-potion” is deemed really important. In general, this work shows that the cultural identity of Ukrainians has historical evidence, which is enshrined in folk songs and literary heritage. These results allow us to clarify the foundations of the cultural identity of the Ukrainians.
Books on the topic "Ukrainian National songs"
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Kostomarov, N. I. Russkie nravy: Domashni︠a︡i︠a︡ zhiznʹ i nravy velikorusskogo naroda (istoricheskie monografii i issledovanii︠a︡) ; Avtobiografii︠a︡. Moskva: Charli, 1995.
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Myshanych, S. V. Pavlo Chubynsʹkyĭ, avtor ukraïnsʹkoho himnu. Kyïv: Vyd-vo Biblioteka Ukraïnt︠s︡i︠a︡, 1996.
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Myshanych, S. V. Pavlo Chubynsʹkyĭ, avtor ukraïnsʹkoho himnu. Kyïv: Vyd-vo "Biblioteka ukraïnt͡s︡i͡a︡", 1997.
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ukraïnistiv, Miz︠h︡narodna asot︠s︡iat︠s︡ii︠a︡, and Instytut mystet︠s︡tvoznavstva, folʹklorystyky ta etnolohiï im. M.T. Rylʹsʹkoho, eds. Ukraïnsʹki narodni balady Skhidnoï Slovachchyny. Kyïv: Instytut mystet︠s︡tvoznavstva, folʹklorystyky ta etnolohiï im. M.T. Rylʹsʹkoho, 2013.
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Kostomarov, N. I. Russkie nravy: Povesti, ocherki, rasskazy. Voronezh: T︠S︡entr dukhovnogo vozrozhdenii︠a︡ Chernozemnogo krai︠a︡, 2007.
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Kostomarov, N. I. Russkie nravy: Domashni͡a︡i͡a︡ zhiznʹ i nravy velikorusskogo naroda : istoricheskie monografii i issledovanii͡a︡ ; Avtobiografii͡a︡. Moskva: Charli, 1995.
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Oleksa, Oshurkevych, ed. Z folʹklornoï krynyt︠s︡i Frankovoho sela: Narodni pisni, perekazy, spohady. Lut︠s︡ʹk: Volynsʹka oblasna drukarni︠a︡, 2006.
Find full textBook chapters on the topic "Ukrainian National songs"
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Siedina, Giovanna. "Le traduzioni ucraine della Divina Commedia nei secoli XX-XXI: Karmans’kyj/Ryl’s’kyj, Drob’jazko, Stricha." In Biblioteca di Studi di Filologia Moderna, 225–43. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/979-12-2150-003-5.14.
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In the present article, the author briefly retraces the stages of Dante’s reception in Ukraine, then analyzes the main Ukrainian translations of Dante’s Divine Comedy in the 20th-21st century, namely those by Petro Karmans’kyj, Jevhen Drob’jazko and Maksym Stricha. The author briefly dwells on Karmans’kyj’s translation, highlighting the flaws already noted by H. Kočur and M. Stricha. Then the author analyzes Drob’jazko’s and Stricha’s translations, the only two complete Ukrainian translations of the Divine Comedy published so far. The author particularly compares the translators’ approaches to potential difficulties (e.g., the rendering of verse lines or single words in Latin, the verse lines in Provencal in Purgatory, song XXVI, ll. 141-147; the translations of some characters’ names, especially speaking names), and highlights the merits of their long and accurate work, which finally allowed Ukrainian readers to truly experience the Italian national poet, on one side, and filled the gap that divided Ukrainian literature from the neighboring Polish and Russian literature, on the other.
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Karas, Hanna. "PARALITURGICAL WORKS AS A SACRED-AESTHETIC ELEMENT OF UKRAINIAN MUSICAL CULTURE." In Art Spiritual Dimensions of Ukrainian Diaspora, 26–53. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-2.
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The purpose of the section is to clarify the place of Ukrainian diaspora composers’ paraliturgical works of the XXth century and, in particular, the works of Mykhailo Hayvoronsky (1892–1949) in the spiritual musical culture of Ukrainians. Paraliturgical works include spiritual songs and chants performed outside the church’s Christian canonical rite. In the works of composers it is: a series of chants from Pochaiv’s «Bogohlasnyk», arrangements of koliadkas, songs of the Virgin and Resurrection, prayers to the King of Heaven, communions. Paraliturgical music of diaspora composers testifies to a strong connection with traditions: here we have the influence of «part-song», and the achievement of the «golden age» of Ukrainian music, and creative achievements in this genre of older contemporaries – M. Lysenko, M. Leontovych, K. Stetsenko. On the other hand, there is a close connection of this music with folklore sources, first of all, in the field of melody, texture, principles of musical material development. The sacral-aesthetic element of M. Hayvoronsky’s spiritual music is expressed by the figurative content of these works (bright, contemplative mood, sorrowful-focused prayer spirit, joyful exaltation, mood spirit), aesthetic categories (sublime, beauty, harmony, aesthetic ideal). Due to its genre and stylistic features, the paraliturgical music of diaspora composers became an integral part of the national school of composers development and contributed to the establishment of its identity.
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Shchitova, Svitlana. "POLYPHONY IN ORIGINAL WORKS FOR BANDURA." In Integration of traditional and innovative scientific researches: global trends and regional aspect. Publishing House “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-26-001-8-3-3.
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The article is aimed at analyzing a number of original polyphonic works for bandura in various genres, belonging to a leading composer of the Dnieper region, Honored Artist of Ukraine Valentina Martyniuk. Published in the form of a textbook composer «Ukrainian song in polyphonic works for bandura», these works are in great demand among performers, pupils, students and teachers of all levels of education. They are often heard in concert programs, competitions and festivals. This fact is due to the appeal to polyphonic bandura works as self-sufficient original compositions, which organically combined many ways of counterpoint technique and the latest compositional techniques with authentic folklore material or national song melody. This organic synthesis was achieved thanks to the high professional level of the master in collaboration with the famous representative of the bandura school Svitlana Ovcharova. It was such a creative union that contributed to the most comfortable, natural sound of the bandura; Deprived of the vocal voice of her performer, she absorbs the vocals from the song as the foundation of each play. Thus, the instrument seems to replace the words of the song with a purely instrumental sound. But the words are read in every polyphonic play by V. Martyniuk. It is noteworthy that the composer expands the «range» of polyphonic genres and combines technically simple, more traditional inventions with cyclical works, which do not follow certain canons and uses a wide range of possible genre combinations – chorale and fugue, fantasy, fugue and epilogue, fugue and kolomyyka, etc. Such compositions deploy a contrasting material that requires both greater alignment and the achievement of a true concert performance style. The performer has a difficult task – to convey the content of the song, to get into its features and, using polyphonic techniques and appropriate technical capabilities, to create a three-dimensional image that is significant and bring it to the listener. So, the analysis of stylistic and constructive-logical regularities of the structure of polyphonic works for bandura-solo by modern composer V. Martyniuk is made to help a young musician who learns the science of performing polyphony and seeks not only to improve his professional skills, but also to preserve and promote his national culture. The combination of the timbre of the bandura, as a symbol of the soul of the Ukrainian people, with folk songs and pan-European polyphonic traditions can further contribute to the realization of a truly national identity. The project of creating a self-sufficient, artistically original, nationally original polyphonic repertoire for the bandura is unfolding; next year it is planned to republish the collection «Ukrainian song in polyphonic works for bandura» (second edition) with the addition of new polyphonic works by V. Martyniuk and their performance-theoretical analysis.
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Bohlman, Philip V. "5. Music of the nations." In World Music: A Very Short Introduction, 68–86. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780198829140.003.0005.
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Looking at the contentious history of the Eurovision Song Contest, ‘Music of the nations’ considers the complex relationship between world music, nationalism, and the modern nation-state. In her winning song in 2016, ‘1944’, the Ukrainian entry Jamala switched from English to Crimean Tatar, a political reference to the Russian annexation of Ukraine. Zimbabwe changed its anthem from ‘God Save the Queen’ to an African song via ‘Ode to Joy.’ ‘HaTikva’ went from a chorus at an international congress to the Israeli national anthem. There are also supra- or international anthems like the ‘Internationale’, a standard of the socialist movement worldwide.
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Kindratiuk, Bohdan. "DEVELOPMENT OF MUSIC CULTURE IN THE WESTERN REGION OF THE UKRAINIAN PEOPLE’S REPUBLIC (1918–1919)." In Development of scientific, technological and innovation space in Ukraine and EU countries. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-151-0-44.
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This is the first scientific study with an aim to systematically describe the development of components of multinational musical culture in the Western Region of the Ukrainian People’s Republic (ZOUNR). The methodology of our study is also based on the interpretation of new materials. Analysis of facts and systematization of information on the development of music as a subject of research confirm the hermeneutic nature of this study. The application of the historical and anthropological approach reinforces one of the reasons for the emergence of musical works and the development of this genre of art as interdependent parts of the systemic process “creation – performance – perception”. The scientific novelty of the article lies in the study of the manifestations and nature of musical culture in ZOUNR. The development of music was defined by the spiritual uplift of Ukrainians as a result of the proclamation of their independent state, the need to fight for it at the front and in the rear. The activation of artistic life was facilitated by the freedom of public self-validation through music and thanks to it. Works with civic and patriotic content became especially relevant. Church music had its own features. The increase in the number of Ukrainian soldiers has diversified national military music-making. The song repertoire was enriched by works created or reworked at that time. There were many performances by professional artists, and notes were printed as well. The fact that the money they earned were transferred to the wounded and widows stimulated the development of the skills of the performers at concerts, caroling, and parties. The development of music was facilitated by the demand for theatrical performances and music criticism. At that time, a style of “musical Biedermeier” was in its third stage of development. In modern circumstances, art performed its inherent social and cultural functions well both at the front and in the rear. Conclusion. The activities of the ZOUNR citizens in the field of culture testified to the high importance of musical art during the war. Essays on its development give grounds for asserting the fact of a significant contribution of this period to the history of Ukrainian music.
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Shchavinskaya, Larisa L. "Orthodox Bogoglasnik - the connecting thread of Western and Eastern Slavia." In Inter-Slavic cultural ties. Results and perspectives of research, 50–66. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.04.
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The article is devoted to the history of the appearance and distribution of the mass folk book bogoglasnik, which became essentially a phenomenal literary phenomenon of the 18th-21st centuries, linking and uniting the Christian cultural and religious traditions of Western Slavia and Eastern Slavia. The history of the Orthodox Bogoglasnik has hardly been studied until now. The development of the Orthodox tradition of the Bogoglasnik coincided with the era of the Slavic Renaissance and the establishment of universal school education. This contributed to the gradual emergence of a large number of new writers of spiritual song and the emergence of an entire industry of their correspondence, both manually and through various available means of replication. Over time, the bogoglasnik turned into a national book of spiritual everyday life and became a kind of folk catechism of our days for millions of Eastern Slavs, mainly Ukrainians and Belarusians.
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Labyntsev, Yuriy A. "Sacred property of PAX CHRISTIANA: The literary heritage of hieromonk Christopher (1833-1897)." In Inter-Slavic cultural ties. Results and perspectives of research, 31–49. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.03.
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The article deals with the problem of the continuity of the existence and development of Orthodox folk literature of the Eastern Slavs in the 19th-20th centuries on the example of the creative heritage of one of the most gifted Orthodox writers of the 19th century, hieromonk Christopher (Chrysanf Sakovich, 1833-1897). A native of Volhynia, he became the largest creator of religious poetic works for the common people, on which millions of Ukrainians, Belarusians and Russians were brought up and are being brought up. The main work of hieromonk Christopher was his poetic prayer cycle «The Song of the Cross», which became a real national book. It is massively replicated to this day in different countries in all possible ways, from handwritten correspondence to electronic typing. In general, the literary heritage of hieromonk Christopher is a very special phenomenon not only in the Slavic world, but also a phenomenal precious asset of Pax Christiana.
Conference papers on the topic "Ukrainian National songs"
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Стрікаленко, Т. В. "ОБРАЗ-СИМВОЛ «ВОДА» В МЕНТАЛЬНОСТІ, КУЛЬТУРІ ТА ЕТИЦІ УКРАЇНСЬКОГО НАРОДУ." In Proceedings of the XXVI International Scientific and Practical Conference. RS Global Sp. z O.O., 2021. http://dx.doi.org/10.31435/rsglobal_conf/25022021/7421.
Full textAbstract:
The article analyzes the features in mentality, culture and ethics of the Ukrainian people in theirs attitude to image-symbol of "water". Opoetization of water, of the water world is some kind of narodnopoetichesky dominant which is shown in folklore, the art word. Opoetization of water often defines outlook of Ukrainians, gets into national consciousness, speaks about valid and her even solemn perception. The respect of water and its mystified image can be tracked in all components of spiritual culture of Ukrainians: in folklore, ceremonial songs, Christmas carols, etc. It is proved that such relation has historical roots, but today it is necessary to create new ethics of relationship of the person and water. It is of great importance taking into account new relationship of the person with the nature in general. This relationship demands new responsibility of the person to the nature, new culture of the relations of the person with water and its sources, new ethics of relationship of the person and water.