КІНОМУЗИКА УКРАЇНСЬКИХ КОМПОЗИТОРІВ У ДОСЛІДЖЕННЯХ ВІТЧИЗНЯНИХ МИСТЕЦТВОЗНАВЦІВ
Research of film music score of Ukrainian composers by national art historians in Ukraine

Summary/Abstract: Main works of local art historians were analyzed in this article, these works are dedicated mostly to Ukrainian music composers and their creativity in movie scoring.Although, some films were studied by individual art experts, a large number of equally worthy works remained out of focus.Among the most important historian’s works You can find: H.Filkevych "Commonwealth musical: theater, music, cinema", L.Ryazantsev "Sound engineering", O.But "Sound as a component of the film’s shaped structure ", I.Maschenko "World video-audio chronicle", I.Zubavina "Ukrainian cinema during the "perestroika": changing destiny", L.Bryuhovetska "Ukrainian cinema of the sixties. 1961-1970", V.Horpenko "History of cinema as an architectonic typology."Most investigated in the art cognitive works are creative work of such famous Ukrainian film composers as: B.Lyatoshinskiy ("Taras Shevchenko", "Hryhoriy Skovoroda"), L. Revutsky ("Earth", "Prairie Song"), V.Homolyaka ("Chasing Two Hares", "Annychka"), Yu.Meytus ("Two Theodores", "Heaven is calling"), P. Mayboroda ("Blood of Man Not Pure Water", "Ukrainian Rhapsody"), H.Mayboroda ("If the stones spoke", "Long Way to short day") I.Shamo ("Forest Song", "How the Steel Was Tempered"), O.Bilash ("Dream", "On the Kiev’s direction"), V.Silvestrov ("Garden of Gethsemane", "Time to Farewell"), M.Skoryk ("Shadows of Forgotten Ancestors", "High Pass") V.Huba ("Stone Cross", "Zahar Berkut"), E. Stankovic ("Karmelyuk", "Legend of the Princess Olga"), I.Poklad (m/f "How Cossacks bride liberated ", "The whole world in your eyes") I.Stetsyuk ("Chernobyl, two colors of time "), V.Hronskyy ("Fuzhou", "Crime with many unidentified") V.Nazarov ("The Simulator", "Tango of Death").Insufficiently studied and analyzed Ukrainian composers’ creative work, such as V.Shevchenko ("Old Men Only Are Going to Fight", "When a man smiled "), I.Karabyts ("Discover yourself", "Music Score on the Gravestone ") S.Bedusenko ("Ice Flowers") Yu.Shevchenko ("This Flowering Dandelion", "Last Autumn leaf"), also including actor and director – I.Mykolaychuk ("White Bird with Black Mark", "Babylon XX").H.Filkevych is one of the famous Ukrainian art historians, and her art creativity is dedicated to the film’s music score investigating and analyzing. A special place in H.Filkevych’s writings and investigations, takes creative work of Aleksandr Dovzhenko – famous Ukrainian film director, who worked closely with such prominent Ukrainian composers as Boris Liatoshynsky and Igor Shamo. All art works made by this artist are saturated with Traditional Songs, "Knowing a lot of Ukrainian folk songs, Dovzhenko offered to use a particular folk songs to music composers, with whom he worked, [...] melodiousness and musicality that permeated all Dovzhenko film, it has been laid in scenarios in future films – silent and sound "[5, 44].Based on the the musical materials of such outstanding Ukrainian composers as B.Lyatoshinskiy, I.Shamo M.Skoryk, the peculiarities of Ukrainian film music have been examined. The idea disclosure of a movie musical work was revealed, by means of various types of drama, which inherent in a creative manner of these composers.Boris Liatoshynsky (1894-1968) is considered as one of the founders of Ukrainian national film music. Author of music for almost twenty feature films he was also known as composer, conductor and teacher. According H.Filkevych "In the main manner of creative artist B.M. Liatoshynsky, film music inherent conciseness, as well, as concreteness and richness of musical images and explications, their maximum accessibility" [5, 43].H.Filkevych also examines creative work of Igor Shamo (1925-1982) – Ukrainian composer, author of music for about forty films. H.Filkevych defines the basic types of musical drama that composer uses in creating sound images "Despite the genre diversity of films, I.Shamo was creating musical fabric for, artist’s film music is based on two types of musical dramaturgy in fact: Song and Leith-motive and disclosure of dramatic conflict, by generalized symphony means" [5, 58].One of the most significant movies in Ukrainian cinematography was – "Shadows of Forgotten Ancestors" by S.Paradzhanov – the first film that revived the poetic cinema in Ukraine. The music for it was written by Miroslav Skoryk (1938) – Ukrainian composer and musicologist, the author of music for more than forty movies. Due to the saturation of the film with folk music in authentic performance (with a professional recording of authentic instruments) the feature film is perceived at the level of documentary reliable perception.In the book "Sound as a component shaped structure of the film" Ukrainian art critic and teacher O.But tells: "Any Ukrainian film did not know such wealth of audio components before "Shadows of Forgotten Ancestors "; that is one of the innovative features of feature movie [...] M.Skoryk used original music score; folk music performed at all solo instruments, which were possible in the Carpathian region. Among them are: sopilka-dentsivtsya, flora, koza-goat, drymba, even trembita; ensemble playing old wedding music; folk songs, ancient lamentations, carols; special music performed by amateur ensemble; authenticity of folk dialects and rituals"[1, 18].The creative works of Ukrainian film composers are examined not enough. A large number of motion pictures is lost at all, some – are in damaged condition and in need of immediate resumption and possible restoration. Information about some outstanding Ukrainian film composers is completely missing. We consider the importance of maintaining, preserving and further exploring the Heritage of Ukrainian cinema.

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