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Journal articles on the topic 'Ukrainian National songs'
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1
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.
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Slipchenko, Yuliia. "Genre and stylistic dominants of the author song of Kyiv (1960-1980)." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 11, no. 22 (2021): 105–11. http://dx.doi.org/10.34079/2226-2830-2021-11-22-105-111.
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The purpose of the study is to determine the genre and style dominants of the author's song of Kyiv in the historical and cultural context. Methodology. The solution of our research problem necessitates the use of a number of methods of cultural studies. Thus, the comparative-historical method allows to trace and compare the historical context of stylistic and plot-thematic dominants reflected in the work of the performers of the author's song, and with the help of these dominants. The functional method, in turn, allows us to interpret the essence of the concept of author's song as an internally integral self-sufficient genre of song culture. The scientific novelty lies in the comparison of the activities of the performers of the author's song in the process of their creative self-realization by means of translation of both general social and personal experiences with the socio-cultural realities of the chosen chronological period. The relationship between history and cultural self-realization of the individual is traced. Conclusions. The author's song accumulates a number of planes of song creativity. During the period of J. Stalin's political activity, the author's song was defined as an "anti-folk", "decadent", "bourgeois" cultural phenomenon (romances, student songs, satirical songs on topical issues). The popularity of the author's song led to the emergence of a wide network of associations of authors, performers and fans throughout the USSR. The author's song of Kyiv develops in parallel with the Russian-speaking tradition, where borrowing of traditions is only a component of the genre. In the process of gaining identity and autonomy, Ukrainian songwriting acquires its own genre and style dominants, which are associated not only with historical and socio-cultural contexts, but also define the national tradition as one of the key factors of integrity and independence of the genre. Factors such as the first concerts of Ukrainian-language songs and the appearance of performers on festival grounds contributed to the recognition and consolidation of genre branches of Ukrainian songs, and the definition of individual stylistic features for each of the lines.
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SEMYCHOVA, N. "PEDAGOGICAL CONDITIONS OF FORMATION OF UNIVERSAL VALUES IN FUTURE TEACHERS OF ART BY MEANS OF UKRAINIAN FOLK SONG CREATIVITY." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 364–71. http://dx.doi.org/10.31494/2412-9208-2022-1-1-364-371.
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The influence of the proclamation of Ukraine's independence on the formation of the national consciousness of the Ukrainian people and the revision of the approach to the content of the educational sector and the requirements for personal characteristics of teachers-practicians, including measures of development and manifestation of universal values, is emphasized. It is noted that an effective tool of national education of the individual is the Ukrainian folk song. The existing contradictions in the problem of formation of universal values in future art teachers by means of Ukrainian folk songs are determined. The purpose of the article is to analyze the pedagogical conditions for the formation of universal values in future Art teachers by means of Ukrainian folk songs. The process of professional training of future Art teachers in higher educational institutions is characterized. Requirements for professional and personal qualities of an Art teacher are stipulated. The importance of value orientations as factors, under the influence of which the future Art teacher is formed, is noted. The interpretation of the process of formation of universal values is indicated. The components of universal values are listed. The definition of the concept of «universal values of future Art teachers» is given. Forms and methods of formation of universal values in future Art teachers are presented. The model of methods of formation of universal values of future Art teachers. The pedagogical conditions of formation of universal values of future Art teachers in the process in the process of professional training are presented. The peculiarities of building and ensuring the functioning of the model of formation of universal values of future Art teachers are described, taking into account current trends in reforming the education system of Ukraine. The principles of model construction are described. The main elements of optimization of the educational process are outlined. The emphasis is placed on the method of «modeling» in the formation of universal values in future Art teachers. A set of pedagogical conditions effective for increasing the level of formation of universal values of future Art teachers is presented. Key words: value orientation, national heritage, Ukrainian song, patriotism, art, song creativity.
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Lyubar, R. O. "FORMATION OF VALUE ORIENTATIONS JUNIOR SCHOOLCHILDREN IN THE PROCESS OF STUDYING UKRAINIAN SONG FOLKLORE." Educational Dimension 28 (December 20, 2010): 162–66. http://dx.doi.org/10.31812/educdim.7158.
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The meaning of spiritual values and values of orientations in system of national edu cation of growing up generation is opened. Is considered Ukrainian national songs creativity as one of means of formation of spiritual values of the younger schoolboys.
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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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Nabok, Maryna. "Ukrainian National Dumas: National Perceptions in the Process of Intercultural Communication." PSYCHOLINGUISTICS 24, no. 2 (October 3, 2018): 198–217. http://dx.doi.org/10.31470/2309-1797-2018-24-2-198-217.
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The article presents the results of empirical research on ethnopsychological groups of people living in different regions of Ukraine in the context of intercultural ideological systems. In particular, residents of Ukraine and foreign students from Africa and Middle East, which study at Sumy State University, were invited to share their impressions from the listened dumas, performed by Canadian bandurist Victor Mishalow during his concert tour in Ukraine. They also watched and listened to video recordings of such folk dumas as «Cossack Golota», «Marusya Boguslavka» performed by kobzar Mykola Budnyk and bandura player Fedir Zharko. Students analyzed the characters’ images, expressed their understanding and attitude to characters’ actions and compared them with the national heroes of their own countries.
The national peculiarities of the worldview of Ukrainians, representatives of Africa and the Middle East expressed in their language are defined. The language itself is the core of people’s psyche, way of thinking, and identity of ethnic group’s moral and ethical norms of life. The analysis of folk art helps to emphasize the peculiarity of foreign students’ perception of words, rhythm, music, and the symbolic system of folk poetic works. Author notes that the psychological of figurative system of Ukrainian dumas and folk songs of the mentioned peoples has a purely national color: it is a category of national outlook and at the same time is a artistic and aesthetic category.
The solution of these problems forms an understanding of the specific of national characters and the national world in folk poetic works of the peoples of Africa, the Middle East and Ukrainian folk dumas, which is the main purpose of the study and its novelty, because such typological comparisons are investigated for the first time.
These experimental studies, the development of the ideas of dumas studies and studies on a national character, the peculiarities of a national world perception, world outlook and world expression have substantiated the need for a deeper study of Ukrainian dumas’ role in the formation of the national personality during intercultural communication.
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Інна Терешко and Лариса Пшемінська. "M. LEONTOVYCH’S WORK OF FOLKLORE IN THE CONTEXT OF THE NEW UKRAINIAN SCHOOL." Collection of Scientific Papers of Uman State Pedagogical University, no. 4 (September 4, 2020): 128–35. http://dx.doi.org/10.31499/2307-4906.4.2020.224180.
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The methodical concepts of organization, recording, processing and documentation of folklore by the outstanding Ukrainian composer, conductor, teacher Mykola Leontovych are defined in the article. The artist's interest in folk songs is revealed, and his purposeful work as a recorder of folk melodies is studied. The composerʼs approaches to collecting, studying and popularizing the folklore of Ukraine are defined. The memories of friends and students, which reveal the composer’s and folklore activities, are analyzed.Much attention is paid to the definition of individual perception, techniques and methods of presentation of folklore in the professional activities of M. Leontovych, in particular, describes the diverse and multilevel system of the composerʼs creative approach to folk songs and outlines the leading role of folklore in music and aesthetic education. The article considers the national originality of M. Leontovych’s choral music, reveals the close connection of the composer’s activity with the rich folk song culture of Ukraine, highlights the composer’s innovative approaches to the embodiment of folklore in Ukrainian music, traces the artist’s influence on the development of the choral miniature genre. The paper presents a creative understanding of the folk song heritage of the composer and the use of its best examples in the education and artistic training of todayʼs young generation. Some aspects of the development of professional skills of future teachers of music are highlighted. The use of certain forms, methods, techniques of educational activities contribute to the formation of studentsʼ readiness to use arrangements of M. Leontovychʼs song folklore in modern secondary schools in the context of the New Ukrainian School.
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Irklienko, Viktorija. "MUSIC ART AT FOLK HOLIDAYS: ETHOGRAPHIC AND EDUCATIONAL DEMENSION." Aesthetics and Ethics of Pedagogical Action, no. 14 (September 9, 2016): 99–106. http://dx.doi.org/10.33989/2226-4051.2016.14.171593.
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The article investigates ethnographic and educational dimension of functioning of music at folk holiday. The author considers national holiday as an integrated concept that, firstly, integrates a variety of types of art (music, fine arts, performing arts, dance, literature), secondly, is a combination of two cultures – the pagan and Christian. It is noted that folk holiday is a model of highly aestheticized everyday life of Ukrainian people. The author states that music art at folk holiday is represented in the form of choral music, dance songs, music for dancing, marching music, song and instrumental music for listening in the form of ensemble.It has been proved that functioning of professional, amateur choirs or just group singing is common for music content of folk holidays; Ukrainian folk song has always been the basis of that functioning.It has been emphasized that the music art at folk holidays is represented by national folk-songs in the form of dance songs. They consisted of three components: words, music and dance movements.Special attention has been given to the marching music, represented by greeting marches, procession marches, performed in appropriate situations of meetings, farewell, congratulations, and glorification.The article states that the folk holidays that are prevalent in Ukraine have an important pedagogical potential, since they give a child a coherent picture of the artistic view of the world, establish connection between art and life.The recognition of the leading role of folk music in the process of musical and aesthetic education of children is considered by the author as a key to the formation of a highly spiritual personality.The requirements for the organization and conducting of folk holiday have been presented in the article; the teacher’s basic tasks have been defined.
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Berehova, Olena. "Maryna Denysenko-Sapmaz’s aesthetics in the cultural creation processes of Ukraine at the turn of the XX–XXI centuries." Culturology Ideas, no. 22 (2'2022) (2022): 92–101. http://dx.doi.org/10.37627/2311-9489-22-2022-2.92-101.
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For the first time in Ukrainian musicology, an attempt was made at a creative portrait of the composer Maryna Denysenko-Sapmaz, the main stages of formation of her creative personality were outlined, a panoramic review of significant works in her creative biography was offered. Analytical observations allowed generalizations about the orientations of her musical aesthetics, including the postmodern worldview, the tendency to combine neo-styles, openness to technological experiments and avant-garde research in various composition techniques, synthesizing the principles of European and Eastern musical thinking, using new performing techniques. instruments and voices, paying great attention to the spatial qualities of timbre and sound. A special feature of M. Denysenko-Sapmaz's aesthetics is the presence of the Ukrainian national element in her works in various aspects from direct citation of folk music epic, author's adaptations of Ukrainian carols and Christmas songs in the early period to more indirect forms of work with folklore material in the mature period of creativity such as stylization, input of specific Ukrainian instruments to the score, special lyrical intonation which originated in Ukrainian songs.
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Бокало Ірина. "МОТИВИ ВТРАТИ ВІНКА В УКРАЇНСЬКИХ НАРОДНИХ ПІСНЯХ ПРО КОХАННЯ." World Science 2, no. 2(42) (February 28, 2019): 46–51. http://dx.doi.org/10.31435/rsglobal_ws/28022019/6361.
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Ukrainian folk love songs as one of the most relevant genres have retained a lot of information about the norms of ethics and morals of the Ukrainian youth at the end of the XIX - early ХХ century. Particularly interesting are texts which contain information about the loss of maiden innocence, are reflected in the motifs of wreath loss. In folk love songs with the motifs of wreath loss, often are being used images-symbols of a wreath, braids, weed field, destiny. National aesthetics rarely judge girl who committed such a moral crime, but mostly sympathizes with her, uses the examples of such situations to warn young people from committing such offenses.
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Boldyrev, Volodymir. "A folk song in the repertory of a vocalist as the way of forming multicultural performing traditions." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 50, no. 50 (October 3, 2018): 181–92. http://dx.doi.org/10.34064/khnum1-50.13.
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Background. The article is devoted to the scientific-methodical analysis of the phenomenon of a folk songs assimilation into the multicultural vocal tradition. A folk song is presented in the aspect of national self-consciousness and plurality of modern performing traditions in the conditions of multi-stylistic cultural attitude. The relevance of the topic is the theoretical comprehension of the role of a folk song and singing in multicultural context. The purpose of the research is a comprehension of the phenomenon of the folk songs assimilation in multicultural vocal traditions under the new wave of interest in national dimension of “West – East” and necessity of quality vocal education of rising Chinese students-vocalists. The article based on the studies of materials of curriculums, methodical elaborations and manuals developed in the department of solo singing at Kharkiv National I. P. Kotlyarevsky University of Arts. Research results. Modern multicultural performing traditions in conditions of expanding geography of creative experience exchange needs in new philosophical and scientific-methodical comprehension. Based on variety international cultural programs there are traineeship groups, exchange of students and teachers, presentations of common creative projects. The modern cultural background of Ukraine is enriched with unique concerts of Chinese students performing not only classical repertoire, but Chinese folk songs as well. Methodical comprehension of stylistic layers and ways of formation of multicultural traditions occurs according to the methods of comparison of general intonations in folk songs. Vocal methodic of sound extractions is founded on general grounds, regardless of national specificity, however, the comparison and plurality make the process of performing reproduction of vocal styles more accessible for comprehension by students. The issues of national certainty and vocal-technical skills, interpretative experience in the concert forms and singing genres are considered in the research. The innovative aspect of the topic disclosure is the involvement of Chinese folk songs and pieces by Chinese composers in interaction with pieces by Italian and Ukrainian composers in the repertory of the learning vocalists. The practical task is to reveal the multi-national potential of musical mindset of contemporary singers in the context of the steady tendency to the mental-stylistic plurality in the art of the 21st century. It is proved that the vocal-technical learning of general world experience occurs through the recognition of the plurality of stylistic features of folk songs. The folk song is the “cornerstone” of the performing tradition, the basis of the vocal repertoire of any national school. It is included in a composition of compulsory pieces for participation in national and international vocal competitions. Thanks to the folk song what is the carrier of the ancient information and performing features included by previous singer generations, a deep connection of the artist with folk-song traditions occurs. The category “folk singing” is a coherent entity that contains the minimum set of information what includes distinctive harmonic figures, instrumentation, texture, acoustic features of rendition. The traditional Chinese song, based on pentatonic scale, becomes an illustration of the national “general intonation”. "Sense" of an entire tone for the formation of the purity of vocal intonation assumes an exclusive meaning. The success in acquisition of pentatonic melodies is provided due to similarity of intonation sets what are typical for musical cultures of different nations over the world. The folk song in the repertoire of the learning vocalist is a reflection of the multicultural traditions in the conditions of the domination of academic vocal culture. The study of the melodics of the song and its harmony and form peculiarities contributes to the adaptation of the singer’s mindset to the alternative mental principles of vocal art and to the universalism of mindset in the forming of professional academic performing. The Chinese folk song, the Ukrainian duma, East mugham singing and other similar reflect the spiritual world of folk reproducing historical antiquity. Therefore, the folk song as an integral part of the modern repertoire in vast enriches the intonation, spiritually-aesthetic and cultural fund of a vocalist. The conclusions summarize the complexity of the problem, the components of which are the adapting of mindset to the alternative mental bases of vocal art and rising of universalism in conditions of multi-stylistic plurality. The bases of formation of multicultural traditions are generalized: the comparison of stylistic layers; exploring the general world experience through the national certainty (basic vocal repertoire as a synthesis of stylistic plurality); vocal-technical equipment, the comparison of melodic, harmonic and tempo-rhythmic principles of differrent folk songs; rendition of the folk song in the original language. All of these bases reveal the content of the movement to the formation of multicultural performing traditions in order to advance of the professional academic background.
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Kuzyk, Valentyna. "Musical Culture of Ukraine against the Challenges of Time." Folk art and ethnology 4 (November 30, 2022): 17–24. http://dx.doi.org/10.15407/nte2022.04.017.
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Currently, Ukraine is living in a historically defining period of the Russian-Ukrainian war, when the feeling of national dignity and self-respect of a civilized European person is asserted in society. Comparison of the events of 1918–1921 appears constantly – the times of the first proclaimed independent Ukrainian People’s Republic, and 2022, when the enemy’s position to put an end to the Ukrainian question finally is manifested with particular aggression. The Ukrainian Republican Chapel under the leadership of Oleksandr Koshyts – the first cultural ambassador of Ukraine in Western Europe and America – has been of a great significance in those historical events. The actions of representatives of Ukrainian culture, musicians in particular, have become a powerful “humanitarian weapon” in the contemporary confrontation between civilization and the savagery of the horde. The concert activity of our performers has covered musical and theater stages of various countries of the world. Many leading foreign groups have decided to perform Ukrainian music. The National Anthem of Ukraine and the songs Oi u luzi chervona kalyna / Oh, Red Viburnum in the Meadow (version by Andrii Khlyvnyuk and the Pink Floyd ensemble), Stefania by Kalush Orchestra (winners of Eurovision Song Contest–2022) have become the most widespread. Nowadays there are three essential components in European musical culture, requiring serious attention: 1) Creative heritage, i. e. Russian heritage, spread over the centuries; 2) Performing forces, namely the priority of musicians from Ukraine; 3) Solving the problem in Ukraine itself, primarily with the so-called Russian heritage. The Russian-Ukrainian war has dotted all the “i” over many essential phenomena of life and become a powerful impetus for reorganization processes both in national and world musical culture.
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Hanna V., Marynchak. "Adaptation genre of Ukrainian folk songs in the interpretation of K. Gorski: aspects of texture stylistics." International Journal of Scientific Research and Management 9, no. 10 (October 6, 2021): 9–11. http://dx.doi.org/10.18535/ijsrm/v9i10.mt02.
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The article examines the adaptation principles of Ukrainian folklore material used by an outstanding representative of the Polish-Ukrainian branch of the musical culture of Kharkov at the turn of the XIX – XX centuries.
For the analysis, a collection-cycle was selected, compiled by the author himself on the basis of adaptations of the songs used in the operetta “Oi Bozhe shcho ta liubov zmozhe!” for the libretto by A. Zbukireva, staged by M. Kropyvnytsky, one of the founders of the Ukrainian national theater.
Several groups of adaptations are outlined and classified, representing the portraits of the characters of the operetta, as well as the stage situations. Generalizing characteristics of the texture-stylistic approaches used by K. Gorski in the piano parts, prefixed to each of the 20 songs, are given.
It is noted that K. Gorski not only demonstrates professional mastery of adaptation techniques approved in classical music, but also translates features of Ukrainian folk polyphony into texture and harmony, which gives his adaptation an individualized charm.
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Dobrowolska, Anna Maria. "„Tam jest pamiątek ognisko”. Elementy osjaniczne w twórczości Augusta Antoniego Jakubowskiego oraz Maurycego Gosławskiego." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 55, no. 2 (November 4, 2022): 133–49. http://dx.doi.org/10.36770/bp.697.
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The aim of the article was to trace the similarities between the Songs of Ossian and the works of selected authors of the Ukrainian school, which allowed Maurycy Mochnacki to create in 1826 the metaphor of Ukraine as "Polish Scotland". We are talking about similarities in terms of building mood, creating images of space, reflecting on history, passing and memory, as well as a special sensitivity and way of feeling nature and the world. This metaphor has already been commented on many times, and it also evoked extreme opinions. Stanisław Makowski and Alina Witkowska, among others, found it unfounded, but its sources seem worth re-examining. The work aims to identify those features of Ukraine which, in the eyes of the authors of early Polish Romanticism, made it similar to Osianic Scotland. In the article, fragments of Songs of Ossian will be juxtaposed with selected works of lesser-known poets from the Ukrainian school, August Antoni Jakubowski and Maurycy Gosławski. Indigenous Ukrainian duma, which is related to the Songs of Ossian in general terms by the presence of epic elements, as well as frequently appearing historical topics, is important research material. The Ukrainian steppe was the space where the Kobzar sitting on the grave praised the heroic deeds of the Cossacks, just as Ossian told the stories of Fingal's warriors. This allowed Mochnacki to believe that the poets of the Ukrainian school, referring to indigenous folk art, would create national literature that would play a decisive role in "recognizing the nation as its own being”.
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Rusina, Vlada. "Traditional Ukrainian songs as performed by folk choirs of ‘Sloboda’ Ukraine." Journal of Education Culture and Society 4, no. 1 (January 12, 2020): 236–42. http://dx.doi.org/10.15503/jecs20131.236.242.
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In the context of the worldwide globalization processes the issues pertaining to the quest for national identity acquire a particular signifi cance. This is true in the case of Ukraine as a newly-independent state in the establishment and consolidation phase.In the conditions marked by a general obliteration of folk customs and traditions it is folk amateur choirs/gatherings (hurts) that often become vehicles of folk culture. This study pres-ents rare records of traditional Ukrainian songs, some of them dating back to the 19th century, which the author made in the course of several fi eld trips.
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PIRKO, Mariia. "PUBLISHING PROJECTS OF THE STATE SECRETARIAT OF THE WEST UKRAINIAN PEOPLE’S REPUBLIC." Ukraine: Cultural Heritage, National Identity, Statehood 31 (2018): 79–87. http://dx.doi.org/10.33402/ukr.2018-31-79-87.
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This article analyzes the specifics of publishing projects of the Government of the West Ukrainian People’s Republic. These projects represented the state-building, political, legislative and organizational work of the State Secretariat. Publishing products were irregular and often had little circulation as well as limited amount of readers, because they were printed in the conditions of political divergence of the government, economic and social difficulties, and military confrontation. The publications of the State Secretariat were divided into three groups: official publications (bills), Ukrainian periodicals (magazines), various literature (calendars, books of songs, sociopolitical issues), which until now have not been properly highlighted in historiography. The author characterized format, content, and thematic orientation of the editions as well as their impact on the formation of the national outlook of the Ukrainian people and the development of the cultural and educational movement in post-war time. Keywords West Ukrainian People’s Republic, State Secretariat, publishing, Orest Kuzma, calendars, national-patriotic idea.
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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.
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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.
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Chemenyan, Gayane. "Methodology of mastering Ukrainian song folklore in the process of training future teachers of Music." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 4 (129) (December 26, 2019): 109–15. http://dx.doi.org/10.24195/2617-6688-2019-4-14.
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The article raises the social problem of Ukrainian society – the reducing of the level of spiritual and aesthetic culture of youth. Its solution is addressed to the educational sphere and involves the improvement of teacher training at the level of professional excellence. The training of Musical Arts teachers who exercise a direct influence on the formation of the spiritual world the aesthetic culture of students is of particular interest. High professionalism, thorough mastery of the vocal voice allows you to captivate students, introduce them to the world of musical arts, achieve artistic impact on the personality of the student, and instill love of performing activities. The development of folk song folklore in the process of vocal training aimed at Musical Arts teachers is considered as the path to the most convenient and natural acquisition of vocal and performing skills. Various aspects of the study related to the systematization, storage and popularization of the Ukrainian folklore have been examined by numerous researchers. The article presents the technique, the development of the Ukrainian song folklore, the main principle of which is the phasing and consistency based on a concentric presentation of the material. The content of each stage has been grounded, the corresponding effective methods and principles have been indicated. The advantages of using the Ukrainian folk songs as a means of educating national identity the formation of the spiritual and aesthetic culture have been indicated. It is shown that the inclusion of song-folklore works in the repertoire allows us to solve the problems of forming vocal skills and performing skills. The genre features that create natural amenities in the process of developing the vocal voice of future teachers of Musical Arts have been highlighted. Keywords: spiritual and aesthetic culture, morality, folk-song folklore, vocal skills, performing skills, educational and methodical advantages of Ukrainian folk song, stages, methods, principles.
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Lukaniuk, Bohdan. "From the Musical History of Liberation Songs. Problem Essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2021-18-1-25-64.
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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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Lukaniuk, Bohdan. "From the musical history of liberation songs. Problem essays." Ethnomusic 18, no. 1 (December 2022): 25–64. http://dx.doi.org/10.33398/2523-4846-2022-18-1-25-64.
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Liberation song is a special genre of mass oral and writing art which expresses the spirit of protest, the people’s struggle against oppression, their rights of freedom, for their social, national, and universal rights, and it is an effective means of orienta- tion and organizing the vast majority of society. Such a song is usually attributed to an author if necessary, and, having become widespread and even often worldwide, it is adopted into folklore. Such songs can also to some extent be modified due to the influence of public artistic thinking. Therefore its theory, history and practice create apparent ethnomusicological research interest. The proposed problem essays discuss the history of five popular Ukrainian (or those of countries closely related to Ukraine) liberation songs – older and newer, both in terms of appearing during the last three centuries (1654–1921), and in musical and poetic style. According to their international significance, their original sources, and the way evolutions are revealed, most are still little known or completely unknown. These mostly debatable attempts to resolve the issues require further studies, which are sure to open more than a few fascinating pages in the country’s past. This issue of “Ethnomusic” includes the following three essays (previously see: [Lukanyuk 2022a]). Keywords: liberation song, Ukraine, primary sources, musical history, ways of evolution.
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Mekh, Nataliia. "«Natalka Poltavka» by Ivan Kotlyarevsky in the Ukrainian linguistic and cultural space." Culture of the Word, no. 91 (2019): 57–65. http://dx.doi.org/10.37919/0201-419x-2019.91.5.
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The article attempts to look at Natalka Poltavka's play in a broad linguistic and cultural dimension. The work is considered as the first attempt in a new Ukrainian language to speak about Ukrainian truthfully, brightly and wisely. Particular attention is paid to songs of drama that live separate artistic lives. The importance of the work of I. Kotlyarevsky for the musical realm, in particular, the opera of Mykola Lysenko based on the play "Natalka Poltavka" as a landmark event in the Ukrainian cultural space, is considered. Natalka Poltavka Opera is a real pearl of Ukrainian music. It clearly reveals national life, typical characters and traditions thanks to the folklore-based music. Key opera songs have long gone beyond it and are perceived in various parts of the world as symbols of Ukrainian culture. Natalka Poltavka is the first work of the new Ukrainian dramaturgy, combining signs of sentimentalism and educational realism. At the time when the play was written, sentimentalism began to develop rapidly in European literature, which was characterized by the desire to recreate the world of the feelings of the common man and to evoke sympathy for the heroes of the work. We notice these tendencies in drama, watching I. Kotlyarevsky appeal to human feelings, focusing on their strength, sincerity and depth. Respect for moral purity, spiritual strength, popular wisdom and language, love and respect for ordinary people are all we see in Ivan Kotlyarevsky's talented play.
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SHCHYHOLIEVA, Svitlana, and Svitlana Kryvoruchko. "ABOUT THE AUTHOR SHCHYHOLIEVA SVITLANA." Astraea 3, no. 1 (2022): 139–42. http://dx.doi.org/10.34142/astraea.2021.3.1.08.
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Svitlana Shchyholieva – modern Kharkiv poet, member of the National Union of Writers of Ukraine, engineer of Department of Experimental Physics of Kharkiv National University named after V. N. Karazin, write and sing her own songs. Svitlana Shchyholieva started writing at the age of 5, but more seriously at the age of 16. She is the author of poetry collections in Russian “November berries” (2007) and “Live thread” (2018), have poems in Ukrainian and a little in English.
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Pirko, Maria. "The centenary of “Rusalka Dnistrova” in the interwar publishing context." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 14(30) (December 2022): 147–68. http://dx.doi.org/10.37222/2524-0315-2022-14(30)-6.
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Based on the books edition of Ukrainian publishing organizations of Galicia, the author is analyzed the place of the 100th anniversary of “Rusalka Dnistrova” — the first literary and folk issue of native language in the western Ukrainian territory, in the publishing practice of the interwar period. An attempt was made to find out the influence of the almanac on the cultural development of the region, the idea of the unity of the people on the both coasts of the Dnieper, and the formation of the national consciousness of Ukrainians throughout the century. Almanac “Rusalka Dnistrova” is a book that was destined to start a new vernacular, folk literature in Western Ukrainian, and at the same time, the Ukrainian cultural and political revival of the region. This book, on the eve of the appearance of Shevchenko’s “Kobzar”, was compiled by the Lviv romantics, theological seminarians Markiyan Shashkevich, Ivan Vahylevych and Yakiv Holovatskyi, named “Rus’ka Triitsia”. The issue was printed in Budapest in 1837. Although the title states “Rusyn folk songs”, the compilers submitted not only recordings of folk songs from different regions of Galicia, but also their original poetry, prose and examples of translation work. In the introductory comments to individual chapters of the almanac, M. Shashkevich and I. Vahylevych review the content of the publication retrospectively and prospectively, presenting the historical genesis of the material, its thematic and genre stratification, and its lexical and stylistic features. The book is filled with love for Ukrainian folklore, antiquity and everything native. It has a strong spirit of conciliarism of Ukraine. Almost all Galician magazines in one form or another responded to the jubilee almanac, including historical, literary and journalistic articles and artistic works. The 100th anniversary of the first book in the Ukrainian vernacular was commemorated by a lot of public organizations in Galicia. In addition to publications in the columns of periodicals about the celebration of the anniversary of “Rusalka Dnistrova”, new book editions have appeared for a wide Ukrainian audience. Literary scholar and folklorist Mykhailo Wozniak favorably evaluated the movement work of the “Rus’ka Triitsia” and on the occasion of the anniversary period (1833–1837) prepared new information about the activities of the group under the name “In the century of “Zoria” by Markiian Shashkevich (1834–1934)”. The content of the “Calendar for everyone for 1937” edition of the Ivan Tiktor publishing house is almost entirely dedicated to the centenary of “Rusalka Dnistrova” as evidenced by the thematic art cover by Edward Kozak and the anniversary publication of the collection. And in general it can be said that the calendar is dedicated to the national revival of Ukrainians. The support of the national idea of M. Shashkevich is evidenced by a considerable list of donors, placed on the last page of the illustrated one-day magazine “In the century of “Rusalka Dnistrova”, which on the occasion of the solemn celebration of the anniversary on August 1, 1937 at Bila Hora in Pidlyssia and in the artistic thematic cover of the work of the artist Myron Levytskyi was issued by the Zolochiv branch of the “Prosvita” society. For the centenary of the almanac, the jubilee collection published a circle of “Ridna Shkola” named after Markiyan Shashkevich in Sambir, which became the first printed publication of the society and another printed issue. The appearance of “Rusalka Dnistrova” was a significant event in the development of the literary process in Western Ukraine in the conditions of social and national oppression of the Ukrainian people. The collection defended its right to exist, to develop language and culture, and over the centuries the almanac has not lost its relevance. Keywords: almanac “Rusalka Dnistrova”, “Rus’ka Triitsia”, Markiyan Shashkevych, Ukrainian folklore, national consciousness.
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Tymoshenko, A. V. "The embodiment of mater’s archetype in song genre (on repertoire material by master students of Popular Music and Jazz Department)." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 153–66. http://dx.doi.org/10.34064/khnum2-13.12.
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Background. The Mother has always been one of the most popular images in art. A woman giving birth to another human being and caring for it has always been in a focus of attention of artists and philosophers. From this standpoint, the mother is defi ned as an “eternal theme” [3], on the one hand, and as archetype on another one [1; 2]. That allows methodists of primary education to create lessons, devoted to the fi gure of the mother in different arts [7], thus explaining unknown (peculiar features of every art) through well-known (attitude towards mother). In the music, including popular music, the image of The Mother can be found extremely often, as the list of performers whose heritage includes at least one song about his mother, seems to be infi nite; moreover, it consists of the artists representing different national traditions and styles. But the usage of the works of pronounced theme at the highest level of musical education has received neither methodical nor scientifi c development, regardless of including these songs into the repertoire of the students’ programmes. The realm of the music can serve as an undeniable evidence that the music is full of images of maternity: both in religious works (“Ave, Maria” by Schubert and Bach- Gounod), “Vergin tutto amor” by Durante, “Bogoroditze devo raduysa” by Rachmaninov, Yanchenko and others) and in secular (the roles of Santuzza in “Cavalleria Rusticana” by Mascagni, Cio-Cio-san in “Madama Butterfl y” by Puccini, Russian romances by Gurilyov (“Matushka-golubushka”), Varlamov (“Krasnyi Sarafan”). This list could be continued. The accessibility of the image of the mother to every child, its open emotionality make it extremely suitable material for learning the basic principles of art by the children. B ut at the highest level of education, such usage of achievements of culturological and psychological science can scarcely be seen. Although the lack of methodical and theoretical cognizance of given problem does not exclude the usage of songs that feature the theme of maternity, in one way or another, or the attitude towards the parents, in the educational process. Although the main part of the repertoire performed by students of the Popular Music and Jazz department is oriented at the Western-European and American music, the traditions of education don’t allow to exclude the Ukrainian music from the programme. As the experience shows, it is easier to work on this material – for three main reasons. The fi rst one is the accessibility of the Ukrainian language (both for memorizing and for pronunciation), the second one lays in the fact that Ukrainian songs seem to be perceived more emotionally (that is a prerequisite of a successful work on a composition), and the third one is that the students are often familiar with the Ukrainian songs (both with the melody and the lyrics) even before they start working on them, because they widely distributed in the popular culture. The image of The Mother is among the most often used in the Ukrainian songs. It is featured in the folk songs as well as in academic and popular music, connected with the principles of Ukrainian song intonational features. The one of the most popular song from the latter group is “Pisnya pro Rushnyk” (music by Platon Mayboroda, lyrics by Andriy Malyshko). When it was written in 1958, its popularity skyrocketed (it was even broadcasted by the Voice of America [6]), and it is still widely known. This makes stated song a suitable repertoire for learning the traditions of popular vocal craftsmanship. The lyrics feature some stable motives causing the dominance of the lyric expression. These motives are the retrospection (as all the events of the song are placed in the Past), separation with the mother, and her everlasting love. All the things stated above and slow, somewhat solemn but enlightened melody makes it perfectly clear what emotional state is needed for this song – because the archetype character of the image of The Mother makes it easily perceptible by almost everyone. The objective of this research lays in the revealing of the signifi cant role played by the image of mother in the repertoire of students of the Popular Music and Jazz department and in generalization of typological features of these songs. Methods. In order to reach those objectives, several methods have been used: genre and style analysis, analysis of lyrics and music and their relevance, compositional analysis. Results. The image of The Mother, that is an archetype by itself, has been rece iving its incarnation throughout all known history of humanity, thus acquiring a features of “eternal theme”. The fi gure of the mother (both in the religious and secular meaning) has been portrayed in academic music, in popular one and in the folklore. Generalizing the results of observances, we can conclude, that the songs featuring the image of the mother are characterized by the dominance of the lyrical mode of expression and sincere emotionality. They often have a retrospective view, naturally caused by belonging of the mother to the older generation than her children. As a repertoire of students of the Popular Music and Jazz department the songs about the mother can serve as a material suitable, on the one side, for developing technical and performer skills; and on the another – its content is mostly accessible for open emotional reception, that makes it much easier to work at. Typological features of “the songs about the mother” that have been revealed in this research, do not become cliché as they are different in the language, in the character, and in the nuances of content. Practical signifi cance. The results of this research can be used as methodical recom mendations on the choice of the repertoire of the students and the work on it. Various advices have been given both on musical and verbal aspects of analyzed songs.
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Semeniuk, Larysa. "Narodni balady Volyni y Zakhidnoho Polissya v zapysakh Lesi Ukrayinky ta chleniv yiyi rodyny: ukrayinsʹko-polʹsʹki paraleli." Studia Polsko-Ukraińskie 8 (April 16, 2021): 39–57. http://dx.doi.org/10.31338/2451-2958spu.8.3.
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The article highlights research findings of the ballad plots from the folklore repertoire of Volyn and Western Polissia of the end of the 19th century revealed in the records of Lesya Ukrainka and her family members (Mykhailo and Olha Kosach, Olena Pchilka) and also known in close Polish analogues of those days. The ballads, recorded by the Kosachs, are dominated by stories of family relationships and conflicts caused by marriage without love, long-term separation (the topic of incest), and the mother’s interference in a marital relationship that leads to murder, poisoning, and other tragic situations. A comparative analysis of ballad variants in two languages allows identifying not only the geographical area of spreading of ballad plots in the folklore of neighbouring nations, the specifics of plots, motifs, images, but also points to the features of the Ukrainian and Polish folklore works interaction on the borderlands. In the ballads, belonging to the International Ballad Fund, the plot-lines about wanderings of a dishonoured girl, the incest-related topics, mother’s poisoning of her daughter-in-law and son, about the death of a servant because of his/her mistress’ caprices, the wife’s murder of her husband are typical and similar to various languages. Ukrainian and Polish versions of the ballad-songs have similar features in the structural components of the lyrics, describing mostly life tragic collisions, everyday situations, dialogues of the characters, and artistic details. Despite the affinity of plots, images, artistic means of expression, multilingual texts offer different, often radically different ways of resolving personal and family conflicts. In addition, they are often marked with national colouration and reflect the features of local life, the social life realities of the Ukrainians, Poles, and other ethnic groups. The study has revealed that national attribution of the characters, their specific national names (especially in the Polish texts), polarization on the principle of ours/a stranger, a native/foreigner are the most noticeable features. The Ukrainian and Polish plots express mental ethnic stereotypes of folklore carriers, in particular, regarding women’s role in family and society.
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Danyliuk, Nina. "Linguistic world view in the poetic texts of Lesya Ukrainka’s collection “On the Wings of the Songs”." Ukrainian Linguistics, no. 47 (2017): 63–78. http://dx.doi.org/10.17721/um/47(2017).63-78.
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The article deals with the study of the artistic expressive means of the creation of a linguistic world view in the poetic texts of Lesya Ukrainka’s collection “On the Wings of the Songs” (Lviv, 1893). The materials of the lexicographic work “Dictionary of Lesya Ukrainka’s Language (on the basis of the collection “On the Wings of the Songs”)” in 2 volumes (Lutsk, 2012, 2016) were applied in the study. The nouns used in the microtexts of the dictionary give an opportunity to imagine Lesya Ukrainka’s linguistic world view which was modeled on the basis of key words. Lesya Ukrainka’s linguistic world view is formed by the names of kinship (мати (матінка, матуся), мама, ненька, отець, син (синонько), дочка, дід (дідусь), дитя, дитина (дитинонька), діти (дітки), онуки), plants (верба, дуб, тополя, сосна, калина; барвінок, рожа (роженька), рута, любисток, конвалія, льон), animals and birds (кінь, козеня, корова; голубка, соловейко, чайка), celestial bodies (зоря, зірка (зіронька), місяць, молодик), changes in nature (зима, літо, день, дощ, вітер), geographical objects (балка (балочка), бережок (бережечок), яр (ярочок), гора, круча, бескид; бір, гай, діброва, ліс, луг; річка (річенька, річечка), море), places of living (хата, будинок), utensils (колиска), прикрас (вінок, кораль), traditional ceremonies and their participants (дівич-вечір, молода, староста (старостонька), дружка, кобзар, лірник), abstract notions (бажання, біда, воля, добро, доля, дух, душа, жаль, журба, мрія) and etc. The analyzed fragments of the Ukrainian national linguistic world view reflect the ethnic linguistic thinking of Lesya Ukrainka and prove that she was a Ukrainian. The data gathered in the “Dictionary of Lesya Ukrainka’s Language” compiled on the basis of the collection “On the Wings of the Songs” enable scholars to study an individual linguistic world view.
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Radkevych, Y. "The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 52, no. 52 (October 3, 2019): 101–18. http://dx.doi.org/10.34064/khnum1-52.07.
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Background. Turning to the original sources of Ukrainian musical culture, we should point out the greatest achievements that appear to be the folk-song tradition. The problem of authorship of musical folklore was not considered for well-known reasons: its decisive features are oral, anonymous, collective way of creation. If the phenomenon of authorship is present in various manifestations of musical creativity (composing, performing, directing, etc.) and works in various forms of musical art of the past and present, today the study of the role of the singer as a co-author in the contemporary representation of Ukrainian folk song has not yet become a subject of a special scientific interest. The stated problem opens the prospect of developing the interpretation science as a science of the phenomenology of the artist’s creative personality in various artistic discourses. The urgency of the topic is to study the peculiarities of the representation of Ukrainian folk songs in the contemporary concert repertoire on the example of the activities of the iconic representatives of the national culture: Kvitka (Kacey) Cisyk, Nina Matvienko, and Taras Kompanichenko. Objectives. The purpose of the research is to substantiate the role of the singer as the co-author in representing the Ukrainian folk song in the contemporary concert and artistic space on examples of multi-genre patterns (folk song, song-romance, spiritual chants). Methods. The methodology of the research is based on the genre, structurally functional and interpretive scientific approaches. Results. In order to highlight the peculiarities of the representation of Ukrainian folk songs in the concert and artistic space of today, within the framework of the scientific article, let us dwell on the consideration of the following genres of folk song: folk song, song-romance, and chant. In the unique performance by Kvitka Cisyk (1953–1998) of the chosen folk song “Verse, my verse” the singer appears as the co-author of the song. As one knows, this folk song has no authorship (being an example of the collective folk-song tradition). The level of co-authorship of the singer can be defined as the one corresponding to the traditional performance (the performer as the author). Another example considered is G. Skovoroda’s “Every City Should Have Its Character and Rights” in two versions (N. Matvienko and T. Kompanichenko) and two genre dimensions. Thus, in the detailed analysis of the sample, it can be argued that in the performance of N. Matvienko it sounds like a song-romance, and T. Kompanichenko’s interpretation makes clearer its genre attribution as a spiritual chant (the ethical basis). The song-romance performed by N. Matvienko appears as a bright theatrical performance. The singer represents the song in an elegant manner, appealing to the style basics of the musical baroque. In the instrumental accompaniment of the Ensemble of Ancient Music of K. Chechenia (Konstantin Chechenia), the baroque sound-ideal of the court secular culture was embodied. N. Matvienko, as the co-author of this composition, refined the baroque sounding (the deep understanding of the verbal text by G. Skovoroda, organic in the embodiment of the aesthetic and musically-immanent principles of the baroque style). “Every City Should Have Its Character and Rights” performed by T. Kompanichenko is characterized by such features as: 1) the introvert nature of the expression as a notable feature of the kobza-lyre tradition; 2) the interpretation by the performer of the “Skovoroda” song as an example of the spiritual chant (the correspondence of the repertoire of the traditional singing); 3) the organic and indissoluble nature of the vocal and instrumental components (singing performance (spivogra) as an attributive quality of the kobza-lyre tradition). Conclusions. The role of K. Cisyk as the co-author of the folk song “Verse, my verse” is evidenced in the fact that the singer managed to reach the level of the standard of interpretation of Lemko folk song, as much as possible tending to perform the song without any change. The subtle feeling of Ukrainian melody with the introduction of the contemporary sound (the high artistic orchestral arrangements by J. Cortner) is stated as a manifestation of the national sound ideal (according to O. Bench). In N. Matvienko’s performing interpretation of the song-romance “Every City Should Have Its Character and Rights” in the framework of the modern concert stage (with the sound of timbres of unique Ukrainian baroque musical instruments), the national baroque style constants (the concept of “the world as a theatre”) became more visible. The performing interpretation by T. Kompanichenko is aimed at the completeness of the disclosure of the concept of the composition as an ideological and aesthetic orientation of the kobza-lyre tradition. Without violating its style basics, the singer, as the co-author of the composition performed, appears to be the driving force behind the enrichment and development of the established stylistic principles of the kobza-lyre tradition. The provided multi-genre samples performed by the iconic representatives of the national culture are based on the established tradition of folk song and express the integrity of the creative personality of the performers as bearers of the spiritual tradition of ethnic culture. The prospects for further research in this direction may be related to the study of the iconic phenomena of the performing music culture of Ukraine, which find an appeal in the socio-cultural and research space of today
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Sribniak, Ihor. "Ukrainian amateur theatre at the internment camp of the UNR army in Strzałkowo, Poland, as viewed by theatrical critics in August 1921 — July 1922 (according to the materials of the journal Promin / Sunbeam)." Synopsis: Text Context Media 26, no. 2 (2020): 48–60. http://dx.doi.org/10.28925/2311-259x.2020.2.5.
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The aim of the study is the understanding of the theatre role for formation of spiritual and ideological ideals of interned soldiers. This involves analysis of the amateur circle repertoire and critical reception of plays as well as reconstruction of value motivation of Ukrainian military groups. The historical method, source analysis and synthesis have been used for this purpose. The results of the study showed that the theatrical performances were prepared by several artistic and actor groups (repertory companies), and the informal competition took place between them. Such situation formed the tradition of critical appraisal of the theatrical plays and their publication on the pages of the camp “live” newspaper “Promin”. It is worth mentioning that critics did not miss the opportunity to show the negative sides or, contrarily, praise the actors’ training and stagecraft during the performances. Theatrical stage performances of camp drama and art groups had a significant importance in boosting morale of the interned soldiers as well as satisfying their nostalgic feelings for their homes and native land. The majority of theatrical plays were nationally aspired by the context and spirit (all the dramas were prepared for the stage production in Ukrainian), which thus promoted the spiritual consolidation of the interned warriors. Importantly, camp residents were seeking and finding their own creative ways for the representation of their art pursuits, contributing to the treasury of the Ukrainian and global culture. The significance of the Ukrainian theatre in Strzałkowo is based on the notion that thanks to the mastery performance of amateur actors as well as the Ukrainian songs as supporting music for the theatrical plays, Polish society gradually became to acknowledge positively the Ukrainian National Republic and Ukrainians as the integral part of the European political, national and cultural environment. The article novelty is connected with introducing the information about amateur theatre circles of internal soldiers and critical reception of their activities. The practical significance of the research is that its results prove the longevity of the Ukrainian dramatic tradition.
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Sorochuk, Ludmyla. "CULTURAL AND EDUCATIONAL MISSION OF MYKHAYLO VERBYTSKY IN THE CONTEXT OF NATION-BUILDING." Almanac of Ukrainian Studies, no. 26 (2020): 77–81. http://dx.doi.org/10.17721/2520-2626/2020.26.11.
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The creative activity of Mykhailo Mykhailovych Verbytsky, as one of the brightest representatives of the national elite of the period of the Ukrainian cultural revival of the XIX century, was traced. The importance of the social-cultural mission of the artist, a priest of the Greek Catholic Church, a public figure, the founder of professional music in Galicia and the founder of the national school of composition in Ukraine was emphasized. A representative of the artistic elite, the famous composer M. Verbytsky was a model of professionalism in music and, very importantly, a bearer of national and cultural ideas. The article raises the question of the significance of the creation of the anthem song "Ukraine is not dead yet": the words of P. Chubynsky, the music of M. Verbytsky. The famous musicial composition, the words and melody of which united more than one generation, united Ukrainians around the world, influenced the formation of identity and awakened national consciousness. Working on the creation of a majestic song, the authors realized that the songs-hymns encode political levers, which reveal the potential for democratic development of the nation and the consolidation of citizens. After Ukraine gained independence, the text of the anthem was approved, with simultaneous editing, and in March 2003, the Verkhovna Rada of Ukraine adopted the Law "On the National Anthem of Ukraine" to the music of V. Verbytsky, P. Chubynsky's words "Ukraine is not dead yet, and Glory, and Will "– is one of the most important state symbols. Emphasis is placed on the fact that M. Verbytsky is the author of music for the National Anthem of Ukraine and his life choice, active social activity and creative work carried out a social-cultural mission. The talented composer, spiritual mentor, patriot M. Verbytsky realized the value of what he was doing, worked selflessly and sacrificially, promoting the position of self-affirmation of Ukrainians as free and self-sufficient people.
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Dudnyk, Natalka. "WAYS OF FORMING THE NATIONAL IDENTITY OF FUTURE TEACHERS IN STATE OF MARTIAL LAW." Psychological and Pedagogical Problems of Modern School, no. 2(8) (October 27, 2022): 91–98. http://dx.doi.org/10.31499/2706-6258.2(8).2022.268059.
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The article highlights the importance of the national identity of future teachers in the context of the Russo-Ukrainian War. The author analyzed a number of regulatory documents in the field of the establishment of Ukrainian national and civil identity, as well as the works of domestic philosophers, civic figures, psychologists, and teachers who considered various aspects of national identity. The article highlights negative factors in the education of the national identity of the young generation and analyzes the ways on which the formation of the national identity of future teachers should be based: the introduction of the Ukrainian studies component of the educational process of future teachers as a modern form of strengthening their national identity; development of topics for student final qualification papers, research and creative projects of a national-patriotic orientation, which will contribute to strengthening the formation of a nationally conscious citizen-patriot of Ukraine; involvement of students of higher pedagogical education in participation in public life; encouragement and support of social and cultural student initiatives; popularization of student charity projects, volunteer centers, humanitarian centers; participation of students of higher pedagogical education in the organization of education of schoolchildren from various educational areas, meaningful leisure time for children; proving the need to expand the information field (participation in cyber troops of Ukraine writing articles for “Wikipedia” about russian war crimes on the territory of Ukraine, the truth about the war in different languages, creating web-based platforms that archive crimes and human rights violations); involvement of students in the preservation of national cultural heritage; development and implementation of educational activities aimed at patriotic education of student youth, etc. The author analyzed new forms of festive culture and commemorative practices of patriotic content – memes, songs, slogans, videos, etc.
Keywords: identity; national identity; formation of national identity; patriotic education; national values; national memory; civil position; Russo-Ukrainian War.
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Samikova, Nelli. "POLYCULTURAL TRENDS OF UKRAINIAN ETHNO POP FOLK MUSIC OF THE 21st CENTURY." Scientific Journal of Polonia University 43, no. 6 (June 18, 2021): 138–45. http://dx.doi.org/10.23856/4317.
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The article highlights the actualization of the cultural and national identification issue in the contemporary world. According to scientists, the preservation of the cultural and national identification in the global environment is the most successful when a polycultural approach is implemented to intercultural communication. The aim of the article is to demonstrate, using a polycultural approach for analysis, how Ukrainian national culture is displayed and popularized through the musical content of the 21st century. Reactions of video bloggers from YouTube platform became a marker of the popularity of such a cultural product. Using the method of structural analysis, the selected music videos were considered at a verbal level (usage of folk songs lyrics), a visual level (filming the videos in Ukrainian locations, usage of elements of national life, national costumes, etc.) and at an intonational one (usage of national instruments, singing in a national style, etc.). Due to this, it has become possible to highlight polycultural markers in the music content itself and then track the reaction of foreign video bloggers to the polycultural combination of modern music trends with Ukrainian national elements. The presence of such video reactions confirms the demand for polycultural products, transferring it to the category of a trend – what is on time and what is of most interest to a mass consumer. This proves the relevance of further development of the polycultural approach, expanding the scope of its application, as well as the natural perception of polycultural mass consumption products.
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Melichárek, Maroš. "War Song in a Service of Ideology. Comparative Essay on the Example of Yugoslav and Ukrainian-Russian Conflicts." Balkanistic Forum 30, no. 3 (October 5, 2021): 148–68. http://dx.doi.org/10.37708/bf.swu.v30i3.7.
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Both the official army music and combatants’ informal folk songs have always played a noteworthy role in their respective societies regardless whether this music was created as means of actual propaganda or subsequently as part of reinvented commemorative culture. This article focuses on comparison of the two most recent European armed conflicts, namely 1) the ethnically motivated conflicts in former Yugoslavia between 1992 and 1995/1999, and 2) the interethnic violence followed by Russian military intervention in Ukraine in 2014; the Russo-Ukrainian conflict has not yet been settled and still threatens to escalate. Building on wide range of primary and secondary sources (mainly of Western, Central and South-Eastern European provenience) that has been ignored by a regional scholarship, the paper seeks to provide a contextual background behind the war songs and to compare their prevalent patterns and typology of their inner dynamics and transformations. This paper will not inquire into international, economical or military implications of the aforementioned armed conflicts; it will focus specifically on textual and contextual analysis of those songs. Study brings completely new insights on phenomenon of war songs in East European and former Yugoslav environment and brings much-needed light on the intertwined social, cultural and identity relations that can be established between the former Yugoslav and post-Soviet countries. This topic is very important since state doctrine, national narratives, historical memory affect current and also future development of both regions what is clearly visible on elaborated material.
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Doiar, Larуsa. "Music and speech content of the Radio magazine (1935)." Вісник Книжкової палати, no. 10 (October 28, 2019): 36–40. http://dx.doi.org/10.36273/2076-9555.2020.10(291).36-40.
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The presented article continues a series of author's investigations devoted to the annual analysis of book prints and periodicals, which were published in Ukraine at different times. The problem of development of music radio broadcasting in the Ukrainian Socialist Soviet Republic (USSR) is raised in the work. Based on the annual notebook of the all-Ukrainian scientific and technical magazine "Radio" for 1935, the author examines its music and speech content and concludes that despite the curtailment of the Ukrainization campaign, the magazine remained a platform for discussing the problems of national and cultural construction in Ukraine. At that time, the magazine's reporters raised questions about music and speech quotas on the radio network, demanded an increase in the percentage of Ukrainian folk songs, Ukrainian classical music heritage, and works by Ukrainian Soviet composers. It is clear that this process was controlled and managed by the ruling Bolshevik Party and state authorities. At the same time, the articulation of these issues made it possible to preserve the positions of the political course on indigenization (Ukrainization) declared in 1923. The obvious dominance of folk traditions in the musical creativity of the composers of the USSR, in particular, the symphonies and operas of Levko Revutsky and Borys Lyatoshynsky, prompted the Stalinist authorities to organize a field trip of specialists in recording on gramophone records in Ukraine. The latter carried out unprecedented work at that time, ensuring the preservation of more than 100 works of Ukrainian musical art, namely, folk songs, dances, symphonies, opera arias and more. During the competitive selection, not only the best performing styles were revealed, but also previously unknown bands from the most remote corners of Ukraine. The Ukrainian Radio Committee was actively involved in the popularization of Ukrainian musical content, under the auspices of which a large symphony orchestra, an orchestra of folk instruments, an ensemble of bandura players, numerous musical radio theaters, etc. worked.
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Kaushnian, Y. M. "On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 141–53. http://dx.doi.org/10.34064/khnum2-13.11.
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Background. Ukrainian vocal pedagogy represents almost all types of instructive vocalises, which take into account both the specifi c features of the national vocal school and the individual style of authors and originators (both composers and performers). The aspect of national stylistic extends to such a component of vocal style as pedagogy. The national-specifi c features manifest themselves, fi rst of all, in the tone of material used to teach singers. The aspect of the musical Ukrainian “linguistics” in the modern language situation is associated with a certain type and the national form of language/speech. Dialogue of languages in the form of traditions and national musical lexicon is represented in Ukrainian vocalise, even in its instructional variants. After all, vocalization, which lays in the beginning of an academic singer teaching, plays one of the leading roles in understanding the art of solo singing. Such a teaching is based on the corresponding vocal exercises and more or less completed samples that came to vocal pedagogy from the traditions of academic and folklore practice, both world and the national one. It is obvious that there is no need to draw a direct parallel between the artistic samples of the national vocal music and training in their performance based exclusively on Ukrainian vocalises. It is only about the fact that the variety of methods for the voice training and development also includes a mandatory national-specifi c component, which is developed through the national vocal school practice and is based primarily on the embodiment of folk tones in vocalization interpreted in the curriculum. Therefore, the creators of Ukrainian instructive vocalises, focusing on substantial intonation, combine it with the singing techniques arising out of Italian bel canto. At the same time, a number of methodological and methodical issues related to Ukrainian vocalises require further coverage. The question of Ukrainian vocalise in two of its varieties – instructive and artistic – has not been almost studied which is an important aspect of the relevance of the paper. Thus, the relevance of the paper is determined by the following reasons: - the signifi cant value of vocalise in the practice of vocal art; - the need to fi ll a gap in studying the genre of vocalise based on samples created by Ukrainian authors. The aim of the study is to determine the specifi city of vocalise in Ukrainian vocal art, as well as related vocal-intonational exercises in the practice of Ukrainian vocal schools. The object of research is vocalise in Ukrainian vocal art. The subject of the study is its varieties and stylistic features in the Ukrainian vocal school. The material of the study consisted of samples of various types of vocalises and related vocal-intonational exercises in Ukrainian vocal literature: collections by M. Zavalyshina, S. Pavlyuchenko, О. Voronin and R. Voronina. One can distinguish another characteristic feature common to Italian and Ukrainian vocal stylistics, which is spoken by many Ukrainian vocal pedagogues, including representatives of the Kharkov Vocal School: P. Golubev, M. Mykhailov, L. Tsurcan, N. Grebenyuk, T. Madysheva. The matter is that in their genre specifi city, vocalises always refl ect the peculiarities of vocal music with the text, where the national language imposes its imprint on melody and rhythm, as well as on harmony (Harmony of Solo Singing by B. Filts). The Ukrainian “nightingale language”, characterized by the fl uidity of the transitions from word to word, the special role of vowels being singed, emotionality in the intonational rise of words, is close in many respects to the Italian, in which the same features are presented. Therefore, the presence of these two linguistic principles, which, although presented in non-verbal forms, through vocalization, is always felt in Ukrainian vocalises, refer both to instructional and artistic samples. The multidimensional nature of the tasks facing pedagogues and students in instructive vocalises is refl ected in certain specializations on which certain collections and selections are being created. Vocalises are an international genre, in which for several centuries of its exis tence, various musical and linguistic sources and techniques of singing, coming from them, were assimilated. In the vocalises, referring to different national schools, not only “our own” musical and mental features, coming from national folklore and professional creativity, but also “strangers”, come from the sources of foreign style (far, near, own; “theywe- you”, if you recall the triads of Е. Nazaikinsky). Relevant material is needed to develop multi-ethnic stylistics in the genre of vocalise. Teachers of vocalise widely use folk songs arrangements. The practice of such arrangements forms the basis for the creation of a national musical language, and the interest of composers-arrangers in other peoples’ songs helps extend such a language base. It is known that the national vocal school style acts as a general aesthetic phenomenon and is refl ected in all spheres of vocal art. This is about the vocal style of national authors, which is closely related to the peculiarities of verbal language (“music” and “word” as a key problem of vocal tone), as well as the refl ection of such a style in performing art, where syntheses of foreign national traditions and indigenous aspects of singing related to the national culture. The national specifi c features of instructive vocalises should be considered. One should not forget that this genre is traditional in nature and dates back to classical singing schools, especially to the Italian ones.
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Siuta, Halyna. "Precedent units from the texts of children’s culture in modern Ukrainian communication." Ukrainska mova, no. 4 (2020): 17–34. http://dx.doi.org/10.15407/ukrmova2020.04.017.
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Abstract: The article examines the сorpus of precedent statements and precedent names from the texts of childhood culture, which already have become active nominative-evaluative units of modern Ukrainian communication (journalistic, political, advertising, artistic, conversational, etc.). These units are classified into several functional and thematic groups: 1) which are genetically connected with the texts of children’s literature (national and world), 2) which are genetically connected with the texts of children’s films and cartoons, 3) which are genetically connected with the texts of children’s songs. Much less often speakers use precedent statements and names from texts of Ukrainian national riddles, counters, games, etc. The communicative relevance and pragmatic load of these precedent units in oral and written texts of different styles are analyzed. Structural and semantic types of their exploitation are demonstrated too. It is proved that in modern communicative practice precedent statements and precedent names from the texts of “childhood culture” are functioning as effective tool of secondary nomination of persons, situations, etc. The researched material gives grounds to single out several typical communicative-evaluative models of reactualization of popular precedent phenomena from the texts of children’s literature: 1) precedent names that characterize a person, phenomenon, object, etc; 2) precedent names and statements associatively correlated with the situation. Precedent phenomena from the texts of foreign literature for children as well as from many modern cartoons and children’s feature films adult speakers are naturally perceived as signs of “foreign” culture and require culturological commentary. In living language practice, under the influence of lingual and extralingual factors, there is usually an expansion of the semantics of precedent phenomena. Keywords: texts of children’s culture, modern Ukrainian language practice precedent units, precedent phenomena, precedent names, precedent statements, children’s literature, children’s movies and cartoons, children’s songs.
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Fedenko, A. Yu. "Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 56, no. 56 (July 10, 2020): 73–92. http://dx.doi.org/10.34064/khnum1-56.05.
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Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.
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Davitadze, A. H. "The principles of re-intonation of multinational folklore in the work of Ludwig van Beethoven (on the example of the collection of arrangements “Songs of Different Nations”)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 75–91. http://dx.doi.org/10.34064/khnum1-53.05.
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Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.
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СИКОРСКАЯ, Ирина. "Moldovan-Ukrainian musical relations in the context of the cultural polylogue of the “Ukrainian Musical Encyclopedia”." Arta 31, no. 2 (January 2023): 51–58. http://dx.doi.org/10.52603/arta.2022.31-2.07.
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Th e article presents the concept of the study of Ukrainian-foreign musical relations in the “Ukrainian Music Encyclopedia”, which is published by the Musicology and Ethnomusicology Department of the M. Rylsky Instiitute, on the example of Moldovan-Ukrainian musical connections. The directions, on which facts were systematized, are investigated. One of the components of the rich and long-lasting Moldovan-Ukrainian musical relationship is composer creativity, aimed at enriching both our cultures. It should be emphasized that the creative relations of figures of both cultures at all times were exclusively friendly and based on partnership. Of course, the creative dialogue of artists — both direct and indirect — began long before its formalizing in 1937 by launching the branch of the Union of Moldovan Composers within the Odessa organization of the Union of Composers of Ukraine. In the last century, the relations were concentrated mainly on the educational and pedagogical sphere and connected with the names of S. Vorobkevych, G. Muzychenko (Muzychescu), and M. Kazanli. One of the aspects of mediated creative dialogue is the appeal to Ukrainian composers concerning the Moldovan theme. In the XIX century, it was manifested in Th e Memoirs of the land of Moldova, op. 85, J. Rukgaber, 48 folk Romanian songs by K. Mikuli. The same aspect is deepened by an appeal to national poetry, for instance, in the romances by S. Vorobkevych, E. Mandychevsky, based on the poems of V. Alecsandri, A. Vlahutse, M. Eminescu, G. Cosbuc, etc
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Nazarevych, L. T., N. R. Denysiuk, and N. I. Нavdyda. "COUNTRY STUDY TEXTS IN THE CLASSES OF THE UKRAINIAN LANGUAGE AS A FOREIGN LANGUAGE: THEORY AND PRACTICE." Opera in linguistica ukrainiana, no. 28 (September 28, 2021): 238–48. http://dx.doi.org/10.18524/2414-0627.2021.28.235547.
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Abstract. The article is dedicated to a topical issue: the study of the Ukrainian language in a foreign language environment based on local lore texts about Christmas and Easter; the focus is made on the role of songs and colloquialisms that help students adapt to the country of residence and its realities. Approaches to work with New Year's songs ("Shchedryk") and lyrical songs ("Hutsulka Ksenia") are demonstrated. A number of methodical developments on e-platforms are proposed: open4ukrainian.education/gutsulka-ksenya/; http://bit.ly/rizdvyani-pisni-kolyadki, the advantages of working with online tools are proved: Wizer.me (https://wizer.me/), Learningapps (https://learningapps.org). The objective of the article is to analyze the country study material; to draw the attention of the scientific and pedagogical community to the need of selecting texts and didactic materials with consideration of the feasibility and practical application of information and the development of communicative competence; to prove the relevance of a variety of tasks and examples; to share the experience of teaching foreigners the Ukrainian language. The ideas presented in the article are illustrated by examples taken from the experience of teaching Ukrainian as a foreign language at Ternopil Ivan Puluj National Technical University. Current studies and publications are thoroughly analyzed. The focus is on hermeneutic, communicative, personaloriented, cultural, level methods, the importance of visualization of pre-text and post-text exercises, various questions, descriptive interpretation of rare vocabulary, extended vocabulary. The methodological basis of this study is the work of Anna Shvets. During the discussion of texts about traditions, holidays, events, etc., focuses were made on the appropriateness of asking questions, as questions help not only assess students and find out how well they understand the material, but also help them develop their speech. In addition, the role of post-text comments is traced. The aspect analyzed and described in the article is the content of texts that promote Ukraine in the world, contribute to the formation of linguistic knowledge about Ukraine, help foreign students adapt to the language environment.
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Teleutsia, Valentyna, Alla Pavlova, Liliia Sydorenko, Neonila Tilniak, Yuliya Kapliyenko-Iliuk, and Natalia Venzhynovych. "Mode of Understanding the Terms "Concept" and "Folklore Concept" in Modern Humanities." Studies in Media and Communication 10, no. 3 (December 18, 2022): 40. http://dx.doi.org/10.11114/smc.v10i3.5832.
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The urgency of the study is explained by the importance of a thorough study of typology and classification of concepts in terms of modern cognitive linguistics, linguoculturology, history, ethnolinguistics, philosophy and psychology, including folklore concept as a set of signs that form a semiotic model of national and cultural experience and allow in-depth study of cultural processes in the light of historical and national factors. The aim of the article is to try to comprehend the concept and folklore concept from the standpoint of modern researchers working in various fields of humanities, to analyse, compare the main aspects of studying the problem, considering industry specific features. The main research method is a theoretical method that involves analysis, synthesis, generalisation of the theoretical basis on this topic, and the subject of study – the term concept as a tool of scientific analysis, mental construct and unit of consciousness. The article identifies the main structural and classification features of concepts, diversity of views on the problem of folklore concept from the standpoint of scholars from different fields of humanities and representatives of different cultural strata, the specific features of Ukrainian folklore are considered in detail on the example of texts of thoughts, historical songs, songs-chronicles, wedding songs, carols, Christmas carols, ballads. The materials presented in this paper will help to clarify the specific features and breadth of the mode of understanding certain cultural, folklore and historical phenomena at the intersection of various humanities and social sciences.
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Danylyuk, Nina. "Bibliyni slova-obrazy v tekstakh ukrayinsʹkykh narodnykh pisenʹ." Studia Ucrainica Varsoviensia, no. 8 (August 31, 2020): 41–59. http://dx.doi.org/10.31338/2299-7237suv.8.3.
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The article investigates the fi gurative language (words) of the biblical origin such as God, Jesus Christ, God’s Mother and other that obtained new national cultural meanings and became ethnologemes in the texts of Ukrainian folklore. The research is conducted on the basis of a great number of reference texts, written down mainly in the 19th – beginning of the 20th centuries. It was found out that the texts of oral lore are linguo-aesthetic signs of ethnic culture refl ect a mode of thinking of a nation at diff erent historical periods. It was pointed out that modern authors understand the meaning of such terms as a “word-image” and “language image” in diff erent ways and add their individual interpretations. Key words-images have been analysed in the context of the linguistic conceptual map of the Ukrainians in whom pagan and pre-Christian beliefs of our people are refl ected. It was discovered that Biblical words-images in the Ukrainian folklore were reconsidered and, as a result, it led to the changes in their forms and meanings. The analysis of the folk songs texts makes it possible to conclude that the word-images of Jesus Christ and God’s Mother are developed to the level of language images obtaining specifi c senses that are typical to a real man, a master/landlord, and a woman, a mother and a hostess/ landlady.