THE DEVELOPMENT OF MUSICAL EDUCATION IN THE UKRAINIAN DIASPORA OF CANADA AND THE UNITED STATES OF AMERICA (THE END OF THE XIX CENTURY – THE MIDDLE OF THE XX CENTURY)

Abstract

This publication provides a brief overview of the formation and development of the musical education of the Ukrainian Diaspora of the United States of America and Canada of a specific period – from the end of the XIX to the middle of the XX century. The article presents the most important organizations where art institutions or collectives worked. The author points out the difference between the two important components of musical art: folklore and academic directions. It is indicated that folklore traditions were brought by representatives of the first and (partially) second wave of emigration. Pioneers (first migrants) created folklore groups in their new place of residence, built temples in which choral singing traditionally sounded. The second (in the interwar period) and third (after the Second World War) waves of emigrants began to cultivate the academic direction in music. This was facilitated by the large number of graduates of higher educational art institutions of Ukraine who arrived in North America. The author also points out that the phenomenon of assimilation did not pass by the musical education of the Diaspora. Entry into a foreign ethnic society was ambiguous. Someone perceived this process as inevitability. And someone was not ready. In the article, the author describes the best traditions of religious musical education, points out two components of musical education – general and special. Leading educational institutions, collectives with powerful educational traditions are also named. The author did not deprive attention of the names of prominent musician teachers, whose work was the key to a high professional level of artists of the Ukrainian Diaspora.In general, it is difficult to overestimate the role of Ukrainians overseas. For a certain period of time, culture preservation became an important component of life of immigrants, moreover, the authentic art of Ukraine found a shelter (protection) from foreign ethnic interference and stratification. At a time when total destruction and devastation of ancient culture was taking place in the Ukrainian lands, the Bolshevik millstones were grinding whole layers of unique art. The authorities claimed to replace not only the traditions, but also the artists themselves. Therefore, someone was broken spiritually and forced to glorify the party, some were killed immediately, and most were sent to filtration camps and prisons.That is why Ukrainian artists in North America were sometimes more familiar with history, had the opportunity to work and create new unique masterpieces, and were educated in various fields, including music.Ukrainian has not been lost abroad. Thus, even in the "big cauldron" (as New York is often called), among hundreds of other ethnic groups, in the Canadian steppes and mountains, it started with a hut and tanned working hands of yesterday's peasants. Violin or flute played unpretentious melodies; mothers sang lullabies and in the new churches and cathedrals the ancient Ukrainian church hymns sounded.Over time, a new generation of performers came from the villages to replace the amateur violinists. They were organized into teams, in most cases – family. Those musicians were also self-taught. However, this did not prevent them from being virtuosos. The postwar period brought to the stage a powerful generation of true geniuses who had no place in the Bolshevik artistic pantheon. These were already graduates of powerful educational institutions of Ukraine: conservatories, music institutes, seminaries.This wave of new citizens of Canada and the United States has brought a fresh powerful impetus to the education of the Ukrainian diaspora. They shared their talent in various artistic communities that worked under the auspices of clubs, societies and public organizations. Also, important was the work of artists in special educational institutions or powerful art groups (bandura schools, holiday camps, university campuses, etc.). It should be noted that music art and education had the great support of Ukrainian patrons and philanthropists, for both countries did not stand aside from the development of educational artistic traditions. However, most of the financial injections and legislative support belong to Canada. In the United States, however, artists received more support from private patrons. They acted on the ancient principle that their homeland (and in our case – the musical art of their distant and unforgettable Ukraine for years) should be loved not to the depths of their hearts, but to the depths of their pockets.