Питання автентичності в музиці: теорія і практика
The article is devoted to some problematical questions which are connected with the research of the phenomen of authentic in Ukrainian musical culture.
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The article is devoted to some problematical questions which are connected with the research of the phenomen of authentic in Ukrainian musical culture.
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Observation of traditional music instruments of Transkarpatia in the Christian Ceremony and superstitions involves complex problem-solving of such sciences as: Musical Iconography, Musical Theology, Musical Campanology and so on. In this investigation author discover the semantics exploitation of music instruments during carol, spring cycle, marriage, funeral and other ceremonies. The individual types of traditional music instruments are described by fragmenting.
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In the article on the basis of analysis spring-summer calendar ritual light up the historical aspects of origin of Ukrainian womanish dance.
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The subject of the article is the creation of The Folk artist of Ukraine, professor of National Academy of Music in Ukraine V. Gnedash – one of the famous representatives of Kyiv School of the symphonic conducting. The author analyses the performance and the pedagogical activity of the conductor.
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The article "The Wedding rite of Russians-Old Believers from Zhytomyr region" is dedicated to the studying of the unique culture of one of the least investigated religions confession, acting on the territory of modern Ukraine – the Old Belief, aged almost three hundred years. In his research the author bases himself upon the materials of his own etnographic expeditions to the village Rosiyski Pylyhy, Chudniv city district, Zhytomyr region, and examines the local peculiarities of the traditional wedding rites of Russians-Old Believers of the above mentioned region: describes the main phases of the wedding; presents the large quantity of the wedding songs’ lyrics, which has existed till now in the Old Believers environment of Zhytomyr region; explains the essence of and consecutively describes the various magical rites, the legal-domestic rites, the ritual games, which are the constituent parts of the wedding rite and keep up the special features of the perception of the world, intrinsic to the Old Believers of this region.
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Comprehension of Middle Ages spirituality, in particular rituality, is one of the main issues of culture. Culturology, being a complex science, needs theoretical improvement, particularly in its inner structuring. Separate constituents of culturology (some religious and law issues in the context of culturology, etc.) may be supplemented by new directions.
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This article is devote to creative activity in monumental art of Ivan-Valentin Zadorozhny (1922 -1988), one of the brightest personalities of the second half of the XX century of Ukraine, informal leader of Kyiv school for monumental art.
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This article tells us about the historical and political processes of the development of musical culture in the Ternopilskyi region. An analysis was made of the musical culture specifics of the region and a research was made of the way to save ethnic traditions with instrumental music, folklore, cultured and historical process on the example of musical instruments and folklore forming.
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Given that the wedding ritual as ethno cultural phenomenon, And today is attracting interest among the general population, the study of different levels and use of certain aspects of modern life with knowledge of semantics of each rite is a means of immediate restoration and preservation of national heritage and spiritual gene pool of the nation. And one of the most important and critical phenomena Ukrainian wedding is and, hopefully, will remain for many centuries, our unique rites and paraphernalia.
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Publication is devoted research of features of forming of Ukrainian VIA-style in the context of world and soviet music in 70th the XX item it is Marked that the leading tendencies of this phenomenon in an indicated period were active collaboration of composers and poets of different republics of Soviet Union, that resulted in expansion of repertoire of VIA; combination is in Ukrainian VIA-motion of stylish elements of the traditional stage, at bat and to the folk-year; appearance of new qualities of composition of song (scales, intensities of becoming, gap-willingness and depth); influence of the «Russian chanson» is on the musical language of soviet VIA; influence of art-year and fatal opera is on creation of bands; use of VIA of elements of dzhaz-fate, intonations of «court» and «protection» song, style of disco.
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The life of the Slovak family lies between continuity and change, a quality whose individual aspects and attributes will need to be empirically identified, but then evaluated if we do not just have to ignore this development. We think it necessary to try to intervene at the macro level on the basis of the results of the evaluation (especially in the creation of an adequate and targeted family policy, free of vulgar economics) but also at the micro level through social pedagogy, social work, counseling, regional, school and community family policies, with the activation of all stakeholders, including science and research.
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This article shows panorama of creation of the Ukrainian composers for which basis of creative methods is the synthesis of archaic layers of national folk-lore with modern facilities of expressiveness. The review of creation is carried out composers which continue to develop traditions of founders of neofolkloristical stylish motion І. Stravinsky and В. Bartok in the Ukrainian musical art of second part ХХ – beg. ХХІ item.
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The article deals with the women's treason theme found in numerous Ukrainian folk fairy-tales as representation of the women's archetype in Ukrainian mythological and poetic tradition.
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This publication exposes history of origin of neofol'kloristichnogo style on poch. ХХ an item is in creation of founders of stylish motion . І. Stravinsky and В. Bartoka. It is conducted the detailed muzichnoteoretichniy analysis of facilities of musical expressiveness, inherent neofol'kloristichnomu style and their transformation in creation of the Ukrainian composers of the first half of ХХ age.
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The aim of the article is the general characterization of V. V. Dubravin’s ethnographical investigations on the material of the folklore expeditions on the territory of the northeastern and central Ukraine. The systematization of the artist’s fundamental directions of the ethnographical activity has been carried out, the fundamental principles of documenting of a folk song, Dubravin’s real contribution into native ethnic musical science have been determined.
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In the article there is the coultourologichniy analysis of folk culture, in particular its constituent – folklore. Maintenance and functional loading of folk-lore in the context of coultourogenezou opens up.
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On the basis of written, folklore and ethnographic sources reconstruction of a cult of one of the most mysterious East Slavic mythological beings – the god of teenager Jarily is spent. Structures and ideological semantics of pre-Christian rituals and festivals which spent to honors of the given deity are revealed.
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The article is dedicated to the discussion of the problem concerning the phenomenon of sobornost’ in the Ukrainian spiritual tradition and the forms of its practical manifestations in the folk life. The author emphasizes the sense of unified concept of the concepts of adequate modern problems.
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Ethnolinguistic and anthropological fieldwork in Rostov on Don region (village Margaritovo) was organized in 2015-2017. The materials of these expeditions are focused on ethnic culture and family rites of the local population in the border of Russia and Ukraine. The collected data of wedding traditions and revitalization of old rites are very important for the multidisciplinary study of the migrants from the Balkans (Arnauts, or Greeks and Albanians, according to historical archives of the 18th century) on the territory of the Russian Empire. Marriage is one of the main events that drastically change not only the life of the bridal couple, but also that of their families and relatives, of the whole local community, and in some cases even that of the wider circle of relatives and the region. The ethnographic data collected during fieldwork help the author to reconstruct the performative code of wedding rites by describing in detail the succession of wedding actions in the 1940s – 2010s regarded by reliable interlocutors as being most “traditional and Greek”.
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Folk tales carry traces of past and present cultural life and one of the richest and most versatile types of our triditional literature. Three of these tale written by Minstrel Günay Yıldız are Çoban Mirzehan Hikâyesi (ÇMH), Avcı Mustafa ile Şahnizer Sultan Hikâyesi (AMŞSH) and Yetim Abdullah ile Selvinaz Sultan Hikâyesi (YASSH). Günay yıldız has added a new ring of folk tales by classifying these tales. In this study, the common motif structure of ÇMH, YASSH and YASSH were examined. The texts devoted to the episode as well as the motives. Also, doctoral thesis I’ve studied before on ÇMH, YASSH ve YASSH will be introduced to folk literature science. The common motifs of Yıldız written 3 tales were found as shepherds, hunting, marriage, marriage customs, fall in love, fall in love at first sight, love sickness, rich men, magic, dreams, drinking bade love in a dream world, deputy dervish, giving a name to child, change of luck and fate, assistant woman and man, fooled by fraud, deception by fraud, prayer, formalistic numbers, the expression of feelings with poetry, divine minstrels, father mother and son and several fraternities, imprisoning, Pir (patriarch), Hızır (vice holy man), thieves, going abroad to find the love, explaining the things happened, the wedding ceremony and horse. Of these, dream, bade drinking, love, be in love at first sight, going abroad and return to find the loved one, thieves, pir, dervish, putting children name and wedding motifs were commonly come across in all stories.
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