Historical and cultural-stylistic frontier phenomena in Ukrainian ethnomusic

Abstract

The paradigm of the frontier phenomena, which is relevant in human sciences, is considered by the author as a tool for understanding ethnomusical phenomena that arise at the intersection of cultures. The tasks of the work, besides raising the question, are an attempt of typologic analysis of cultural and cultural-stylistic frontier phenomena in a musical folklore, characterization of their specificity and properties, as well as a description of the forms and ways of their reflection in all kinds of peripheral and cross-cultural folklore texts. Structural, systematic, typological, and to a lesser extent functional research methods have been applied.Conclusions. The types of the frontier phenomena correspond to the stratification of space, which can be geographic, social, demographic, cultural itself, or phase stratification.The ethnic (national), ethnographic (regional, local), socio-cultural, and to a certain extent also historical-cultural frontier phenomena (F.P.) are distinguished.In ethnomusic, F.P. manifest themselves primarily at the level of style: historical-stylistic, dialect-stylistic, cultural-stylistic (partly genre-style) F.P. A definition of the F.P. concept :F.P. as a prerequisite - the proximity of two phenomena, the border itself and adjacent border zones on its both sides;F.P. as a complex of the cross processes;F.P. as a result of interaction - a certain text or a whole generated frontier culture / style.A phenomenon, defined as frontier one, repeatedly appears to be both a zone and the result of a contact between two (several) other phenomena and may not completely belong to either of them, manifesting itself as an autonomous one.The processes of interaction of cultures: intercultural transmission (export-import), its forms, methods and phases; migration, interpolation, injection. Incorporation; interpretation (adaptation, acculturation, assimilation of different intensity); The re-export-re-import of the altered artifact “back” into the “supplier” culture is possible (with a probable subsequent cyclic mirror repeat of an intercultural exchange. (c) only a different way of performing. In the case of assimilation, we can talk about borrowing by folklore: (a) whole compositions, (b) certain lexical or grammatical elements, (c) only a certain way of performing.A character of the F.P. is determined by the specificities of the interaction of contiguous social environments or contacting cultures:the extent to which a particular folklore environment is open to external contacts (transparency of intercultural boundaries);more or less contrast between contactees (their cultural proximity or distance);more or less intensity and duration of contacts;voluntary or compulsive ways of contacting.Levels of the F.P. manifestation in ethnomusic - pragmatics, semantics, stylistics (lexicon, grammar, phonetics):general: cultures, environments (first of all, so-called integrated ones), loci, traditions, (sometimes also genre cycles; composite individual repertoire, etc.);specific:a separate folklore text (as musical-poetic form complex (MPF), the way of its reproduction and function); the MPF itself (in a complex of poetic and musical components);a tune (in a complex of musical elements - rhythm, melos, composition, texture);a separate element - in a momentary (synthetic) or sequential (composed, successive) combination of different things.This article is interpreted by the author as a detailed general-theoretical introduction to the main research devoted to ethnomusic itself within its cultural frontier phenomena.