Development Of Musical Culture Research Articles

Bogdan Milankovic’s contribution to the development of musical culture in Sarajevo between world wars

Dr Bogdan Milankovic was one of the key figures in the musical life of Sarajevo between two world wars. A doctor of Romance philology who spent his working life as a high school teacher, Milankovic also served as director and teacher of the District School of Music, president of the Sarajevo Philharmonic, music writer, and violin maker. The article is a contribution to the biography of Bogdan Milankovic based on archival sources and historical press, while trying to determine his influence to the development of musical culture in Sarajevo in the interwar period.

A listener in a musical work

Relevance of the study. The development of musical culture takes place in the commonwealth of creative processes of the composer, musician-performer and listener. At the same time, to the last of the listed categories is not given enough attention in modern musicology. This especially applies to music-theoretical explorations of the music listener's participation in the formation of the semantic space of a musical work. The focus is on the category of the mass (average) listener, the vast majority of whom do not know much about music.
 The purpose of the article is to consider the function of the average music listener in the integral communicative structure of a musical work, which is expressed by the sequence: composer — performer — listener.
 The methodology. The theoretical position proposed in the article is based on the key points of the concept of musical interpretation by V. G. Moskalenko. It is about the understanding of intonation, the music-intonation triad, in which the movement of musical thinking from the intonation model to the intonation-result is symbolically presented, as well as three types of the text of a musical work. To analyze the creative function of the listener in the semantic field of a musical work, a musical-genetic approach is used, which is indicative of the movement of musical thought from its ancestral foundations to the final result. In this aspect, the following are developing: A) M. Mykhaylov's theoretical approach regarding intonation bases of creative activity of musical thinking; B) terminological differentiation of the principle of musical intonation in relation to the composer, musician-performer and listener.
 Results and conclusions. The formation of the semantic space of a musical work is considered in the trinity of the creative action of the composer, musician-performer and listener. In the category of music listeners, two types are distinguished: professional and average (mass) listener. The focus is on the average listener. The research uses the musical-genetic method, which involves the sequential movement of musical or cognitive thought from the ancestral foundations through the stage of formation to the final result. Three groups of texts of a musical work are identified, which are informants about its artistic identity: sheet music, text-sound and psychological text. The role of the psychological text in the formation of the semantic field of a musical work is emphasized. In the development of M. Mykhaylov's intonation concept of musical thinking, the effect of the three-link structure of the formation of the musical thought of the composer, the musician-performer, and the average listener is separately traced. The importance of the relatively independent function of the average listener in the social "biography" of the interpretive life of a musical work is emphasized, which ultimately affects the variant renewal and even the development of its semantic field. The conclusion is made about the need to support the development of the intonation-creative initiative of the average listener in any possible way conditions of modern forms.

“VIENNESE” CREATIVE PERIOD IN THE EUSEBIUS MANDYCZEWSKI’S BIOGRAPHY

The article presents the genesis of the Mandyczewski family based on extensive source material; the factors of Eusebius Mandyczewski’s formation as a musician, conductor, and composer are characterized. Attention is focused on the significant influence on his professional development of the well-known church history teacher of Chernivtsi University Eusebius Popovych, music teacher Sydor Vorobkevych, and violin teacher Adalbert Hrimaly. The features of the talent of the future musician in his youth are revealed (he created 82 compositions between the ages of 14 and 17). Emphasis is placed on a significant event – receiving a scholarship at the competition of young talents in Leipzig, which was a significant financial support for his further studies at the University of Vienna. The “Viennese” period of E. Mandyczewski’s creativity, which lasted 54 years, is characterized. In Vienna, he studied German studies, philosophy, literature, art history, musical disciplines; his teachers were music critic Eduard Hanslick, musicologist Martin Gustav Notteb, composer Robert Fuchs. E. Mandyczewski’s professional growth was connected with activities at the Vienna Academy of Music, the Vienna Conservatory; he was the conductor of various choirs and orchestras, archivist and bibliographer of the Viennese “Society of Friends of Music” - one of the significant centers of European musical life.
 It was found that during many years of teaching activity, the Maestro trained a whole galaxy of composers, musicologists, teachers, most of whom became stars of the musical world of Austria, Italy, England, America... Among his students are Hans Gall, Karl Behm, Hilarion Verenko, Manolis Calomiris, George Sell, Leone Sinigaglia, Karel Prochazka (senior), Marcian Negria, Joseph Alois Krieps, Julius Patzak, Ferdinand Rebay, Rosario Scalero, Gustav Uwe Yenner, and Arthur Schnabel, Karl Garinger, Ignaz Brühl, Henry Kimball Hadlita, and others. The Austrian press deservedly called the honorary citizen of Vienna E. Mandyczewski “a living musical encyclopedia”. As a theoretician, he wrote many scientific studies on the work of W. Mozart, L. Beethoven, L. Bach, K. Czerny, A. Bruckner, Strauss, etc., compiled a complete edition of the works of J. Haydn, F. Schubert (in 42 volumes), J. Brahms (in 26 volumes). It is emphasized that E. Mandyczewski is the author of 11 Ukrainian choirs, the canon for three voices “And the day goes, and the night goes...” (to the words by T. Shevchenko), music to the lyrics by Yu. Fedkovich “Wake up, Boian!”, “Kobzar’s dawn” etc., vocal works written to the texts of Serbian, Hungarian, Ukrainian, Moldovan folk songs, author’s works written to the texts by Romanian and Moldovan poets M. Eminescu, H. Koshbuk, V. Aleksandr, O. Vlahutse, etc. Research attention is focused on the authorship of vocal works of a secular and spiritual nature, among which the most significant are: “Greek Mass” for solo, choir and orchestra, the cycle “Tuscan Songs”, church works – 12 liturgies, “Cherub” for mixed choir, “Our Father” for two children’s voices, carol “Silent night, holy night”, psalms, etc.
 On the basis of primary factual sources, the influence of E. Mandyczewski on the development of musical culture and education in Bukovyna is characterized.

FEATURES OF FORMATION OF FUTURE MUSIC TEACHER’S COMPETENCE IN WORKING WITH CHILDREN'S CHOIR

The article reveals the peculiarities of the formation of future music teachers' competence in working with children's choirs. It is emphasized that the formation of future professionals' competence is an essential condition for the development of the musical culture of the younger generation, children's interest in the traditions of the musical culture of the Ukrainian people's creative music, and vocal and choral work in children's choir promotes musical abilities and emotional sphere. It is proven that the professional training of future music teachers to work with children's school choirs should be creative, taking into account individual capabilities, music theory, and performance training of students. It is revealed that the future music teacher must be prepared for various types and forms of creative vocal and choral work with children of different school ages, in which the future music teacher will perform as an educational institution, accompanist, accompanist, and illustrator.
 It is emphasized that the modern school needs new forms and methods in the organization of musical activity for schoolchildren, which will promote the development of musical culture and interest of pupils in musical creativity.

The role of A. Norst’s activities in the research of musical culture of Bukovyna

The scientific topicality of the work lies in the study of the history of musical art of Bukovyna and identification of the role of individual personalities in the formation of the region’s musicological opinion. Among the figures of culture, art and education of Bukovyna, an important role was played by Anton Norst, whose cultural works have been known since the time of Austria-Hungary and have gained relevance and new recognition in our time. He became one of the first and most famous researchers of the culture and art of Bukovyna. Therefore, a need arose for scientific evaluation of his research and an outline of the significance of his activities in the process of formation and development of musicology in Bukovyna.
 The purpose of the article is to determine the role of Anton Norst in the study of musical culture of Bukovyna and the description of his work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902”.
 The methodology. While preparing the article, several research methods were used, in particular, biographical, historical, cultural and deductive, which made it possible to reveal new facts of Anton Norst’s life and determine his role in the development of musicology in Bukovyna.
 The results. One can learn about the development of Bukovynian culture, its musical life and the role of individual personalities in the process of the region’s cultural upliftment from the works of scientists, musicians and public figures of that time. Among the works of the Austro-Hungarian period, Anton Norst’s German-language work “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” stands out. A. Norst is an active participant and co-founder of numerous societies, chairman and honorary member of the Union of Journalists and Writers of Bukovyna. He is the author of numerous publications, poems, short stories, comic strips and reviews. Anton Norst’s edition is timed to celebrate the fortieth anniversary of creation of the organization that contributed to the development of musical art and education in the region.
 The scientific novelty lies in the fact that for the first time the role of Anton Norst in the development of musicology in Bukovyna was determined and an assessment of his work dedicated to musical and cultural processes in Chernivtsi during the Austro-Hungarian rule was given.
 Conclusions. The first cultural studies that appeared in Bukovyna are of significant value for modern musicology. Anton Norst’s book “The Society for the Promotion of Musical Art in Bukovyna. 1862–1902” was such a work. It became an important source of information about the development of musical culture of the region in the XIX — early XX centuries and a model of historical musicology of that time.

Artistic Projects of Integrative Type: Research and Performance Aspects

The purpose of the article is to consider the possibilities of using new educational technologies in distance and blended learning, in particular the creation of integrative art projects as in the case of representaing the creative personality of Vladyslav Zaremba as a Ukrainian composer of Polish origin. The research methodology consists in the use of historical-comparative and personalistic approaches, as well as the activity approach from the point of view of art pedagogy. The results of the experimental work prove that the involvement of technology of integrative art projects allows highlighting various aspects of the creative personality of Vladyslav Zaremba as a Ukrainian composer, music teacher, the author of the “Taras Shevchenko's Kobzar” collection, as well as samples of chamber vocal and instrumental music. Scientific novelty. Attention is focused on the role of Ukrainian composers of Polish origin, associated with Volyn and Podillia, in the development of professional Ukrainian music in the mid-nineteenth – early twentieth century. Among them: Joseph Dominik Vytvytsky (1813–1866), Michael (Michael) Zavadsky (1828–1887) and Vladyslav Zaremba (1833–1902). Different facets of Vladyslav Zaremba's creative personality have been traced, which are presented by separate scopes of student search and executive activities in the preparation and presentation of integrative art projects. In particular, the following areas have been presented: artistic Ukrainian–Polish relations in the context of the contribution of Ukrainian composers of Polish origin to the composers of the Dolysenko period; presentation of V. Zaremba's creative career; vocal and choral work of the composer; Shevchenko in the works of V. Zaremba (“Taras Shevchenko’s Kobzar” collection, Kyiv, 1889), the program book of the event dedicated to the 185th anniversary of V. Zaremba (vocal class of associate professor N. Ovod), the “Let’s Sing Together” project realised in collaboration with the Youth Choir (artistic director H. Misko) and Polish students. The composer's piano works have also been singled out, which include a piano cycle for children “Mały Paderewsky” (“Little Paderewsky”), translations of Ukrainian folk songs, plays “Farewell to Ukraine”, “Thought-Shumka”, “The Dnipro Roars and Moans”, “At the end of the dam willows rustle”, “All the burlaks gathered”, and a number of piano miniatures. A brief performing and pedagogical analysis of V. Zaremba's work “Oh, the moon, the moon” has been performed. Conclusions. The authors have generalised the role of the technological process of integrative art projects for intensification of searching and performing activities of music students, their analysis of certain aspects of Ukrainian-Polish cultural relations, the role of individuals in the development of musical culture of Ukraine.
 Key words: musical art of Ukraine of the XIX century, modern art education, art projects, Vladyslav Zaremba.

Research on The Fusion of Ethnic Music and Culture in Northern China

This article believes that only the national art culture is a kind of art universally accepted by the world. If there is no nationality, it is like a tree without roots and a river without a source. Music culture is the same development law. This paper aims to study the fusion of ethnic minority music cultures in northern China to study the history and future of the inclusive culture of Chinese Han residents and various ethnic minorities in northern China. In the history of China for five thousand years, the origin of the music culture of ethnic minorities in the vast land area of northern China has shown a trend of cultural integration and diversified development. Furthermore, the integration of music culture among various ethnic minorities not only effectively promotes the development of music culture but also lays a solid foundation for the colorful music culture system of the Chinese nation. This paper mainly studies the fusion of ethnic minority music culture in northern China and tries to find an effective way to further inherit and promote the ethnic minority music culture in northern China.

Coryphaeus of the Kharkiv piano school. Nataliia Oleksandrivna Yeshchenko. A word about the teacher

Statement of the problem. The article is devoted to the creative personality of Nataliia Oleksandrivna Yeshchenko (1926–2015), an outstanding musician and well-known teacher, Honored Art Worker of Ukraine, Professor of the Special Piano Department at Kharkiv I. P. Kotlyarevsky National University of Arts. The performance and teaching activities of N. Yeshchenko are studied in the context of the birth and development of the Kharkiv piano school. Modern Ukrainian musicology has a number of publications devoted both to the development of Kharkiv I. P. Kotlyarevsky National University of Arts over many years of its glorious history, and to the personalities who formed its composition, performance and pedagogical schools. In the field of piano art and pedagogy, the study of the Kharkiv piano school is carried out through understanding the works of its outstanding representatives. For example, substantial monographs by L. Lysenko, O. Kononova, N. Iniutochkyna, N. Rudenko and a team of authors led by L. Shubina are dedicated to such outstanding pianists as P. Lutsenko, V. Lozova, R. Horowitz, N. Yeshchenko, T. Verkina. The purpose of the article is to draw attention to the creative figure of Nataliia Yeshchenko, one of the most prominent teachers of the special piano department at Kharkiv I. P. Kotlyarevsky National University of Arts, to reveal the features of her performance and teaching activities, her role in the birth and development of the Kharkiv piano school. The theoretical ground of the study is based on the works on piano pedagogy and performance practice, reference books, archival materials, studies of Kharkiv musical culture and historiography of Kharkiv I. P. Kotlyarevsky National University of Arts at that time. The scientific novelty of the work is argued in a multifaceted analysis of Yeshchenko’s performance achievements and pedagogical principles, which developed in the further professional activities of her numerous pupils and in the formation of her own Yeshchenko’s school, as well as in the scientific use of materials from her personal archive. The personality-oriented research method made it possible to single out and comprehend individual episodes of her creative biography; the comparative method helped clarify her individual performance style and pedagogical principles of professional musician training; the historical and cultural approach contributed to the study of N. Yeshchenko’s creative personality in the context of the founding and growth of the Kharkiv piano school in the 2nd half of the twentieth century and led to the conclusion that she played an outstanding role in the development of musical culture and professional piano education in Ukraine at that time.

The phenomenon of pianist-composer in Ukrainian musical culture

The phenomenon of pianist-composer in Ukrainian musical culture, considered in retrospect, is studied. Its consideration allows to fully understand the place and role of creative and instrumental performance of Ukrainian artists both in the history of musical culture of Ukraine and in terms of the development of musical culture in Europe.
 The purpose of the article. To make a systematic review of the phenomenon of pianist-composer in Ukrainian musical culture, in the XIX-XXI centuries, in terms of the contribution of Ukrainian musicians into the development of both the art of composition and performance (instrument — piano).
 The methodology. Interdisciplinary approach has been applied, within which there is an appeal to cultural, art, psychological, historical, etc., scientific principles; we used activity-structural method in the direction of research of creative personality (pianist-composer), method of cultural-historical analysis (activity and historical significance of creativity of pianist-composer in Ukrainian musical culture); applied intonation, genre-style and text-interpretation methods that contribute to the adequate assessment of the results of the creative process in the field of composition and performance; methods of biography and source studies used in the historical research aspect of assessing the importance of the personality of Ukrainian pianists-composers.
 The results. A retrospective review of the work and instrumental and performance activities (piano) of Ukrainian pianists-composers in terms of their importance for Ukrainian musical culture and for world, European musical activity.
 The scientific novelty. For the first time we made an attempt of a systematic diachronic analysis of the meaning of compositional and instrumental-performance activities (piano) of Ukrainian artists of the XIX–XXI centuries in terms of formation and further development of the domestic piano school with the simultaneous influence of the compositional activities of these individuals on the musical culture of Ukraine and the world.
 The practical significance. Systematized presentation of historical and cultural, musicological, etc., characteristics of the phenomenon of pianist-composer in Ukrainian musical culture, allows to apply its results in teaching at the level of specialized music institutions, in the segment of development of educational materials on this topic, to promote Ukrainian piano schools and compositional works of outstanding domestic artists, also in the direction of determining the projective trends in the development of domestic compositional and performing (piano) musical activities.

Vliyanie muzyki Sovetskoj Rossii na kitajskuyu muzykal'nuyu kul'turu v XX v.

Being an important component of world music, Russian musical art not only embodied the spirit and culture of the Russian nation, but at the same time influenced the development of musical culture in many neighboring countries. After examining the development of modern Chinese musical culture, one can find that Soviet and Russian music, as an important component of Western musical culture, had a profound influence on Chinese musical education and the musical life of the broad masses of the population. Starting from the northeastern regions of the PRC, the musical culture of Soviet Russia subsequently spread throughout the country, found a response in the hearts of not only ordinary people, but also members of the government. Soviet music played a positive and stimulating role in the development of Chinese music, not only at the level of creativity and performances, but also at the level of the development of ideological and aesthetic consciousness.

"Self-scoring tables" by Tikhon Sotnikov in the light of the development of the idea of self-education in Russian music pedagogy

The article tells about the first didactic development in the history of Russian music pedagogy on elementary music theory, created in the 1930s by Rostov composer and teacher Tikhon Ivanovich Sotnikov for the independent development of musical and theoretical knowledge. The author of the article points out that the need to create such an educational and methodological manual for self-study was dictated by the current situation in the cultural life of the USSR since the 1930s, when there was an active growth of amateur artistic activity in the country. The gradual complication of the repertoire of collectives required the growth of musical literacy of its participants. Analyzing the historical situation, the author states that despite the developing system of music education, there were not enough schools and qualified music teachers nationwide. The situation was aggravated by the war years, when many libraries and archives were destroyed, and even the search for educational literature presented a significant problem for those who wanted to study musical literacy. The table and thematic cards developed by Sotnikov for independent studies contained not just brief information on musical literacy, but also made it possible to train theoretical knowledge in practice without the participation of a teacher. In addition, the versatility of the Rostov composer's development was also in the fact that his methodology for independent studies could be used in tandem with any of the textbooks on music theory that existed at that time. The idea was highly appreciated by professors of the leading musical universities of the USSR and was recommended for publication nationwide. In conclusion, the author of the article comes to the conclusion that in the context of the historical situation of the mid-twentieth century in the USSR, Sotnikov's development was not just relevant, but with timely publication could have a revolutionary significance for the development of musical culture in the country, and its significance for the history of music pedagogy is undeniable.

The influence of the flute of the Ming and Qing Dynasties (1368-1912) on the development of musical culture and art in China

The influence of the flute of the Ming and Qing Dynasties (1368-1912) on the development of musical culture and art in China

Music Teaching Management and Music Culture Communication Environment Based on Ergonomics.

Music education has a relationship that is mutually restraining and interdependent. The necessity of spreading music culture offers music education social relevance and existential value in the history of music culture's growth, and the method of spreading music culture—music education—injects strength and life into the development of music culture. Music pedagogy is constrained by the evolution of music culture as a whole. In terms of music pedagogy, traditional culture and their peculiarities or qualities will have an impact on the creation of the curriculum content system, which is also the main topic of music teaching management. By using anthropometry, physiological and psychological measurement, etc. with the human body as the main body, ergonomics is the study of the reasonable coordination between the structure and function of the human body, psychology, mechanics, and music teaching methods in order to satisfy people's physical and mental activities and achieve the best use efficiency. The focus should be on comfort, great performance, safety, and health. In order to create a model for evaluating the quality of music instruction, a back propagation neural network (BPNN) is optimised in this paper using an adaptive mutation genetic algorithm. According to the research, our approach outperforms the BPNN model optimised using conventional evolutionary algorithm by 20.21%. The convergence pace is 80.11% faster than the convergence speed of a conventional genetic algorithm. The comparative result demonstrates that the BPNN teaching quality evaluation model with genetic algorithm optimization based on adaptive mutation can produce a more logical scientific evaluation result for the quality of music instruction.

THE INFLUENCE OF IRCAM ON THE DEVELOPMENT OF MUSIC CULTURE OF THE XX-XXI CENTURY

The aim of the research is to outline the influence of the Institute for Research and Coordination of Acoustics / Music (IRCAM) on the development of music culture of the XX-XXI centuries. The research methodology includes the use of an analytical method to highlight the role and significance of IRCAM. The method of synthesis allows highlighting the dominant features that characterize the specifics of electroacoustic works. The application of the methodology of cultural studies is necessary to determine the links between different areas of musical activity and the role of the technological level in the formation of certain areas and techniques of composition. The scientific novelty is to determine the role of the Institute for Research and Coordination of Acoustics / Music (IRCAM) in contemporary music culture and highlight the contribution of Alla Zagaykevych in promoting methods studied at a French institution in the domestic school of composition. Conclusions. The opening of IRCAM was a significant event in music life. This institution helps to introduce musicians with systematic activities related to mastering new techniques of composition, research of acoustic qualities of sound, introduction of innovations in the creative process, etc. The potential and progressive nature of IRCAM has been developed under the guidance of lead composer, conductor and theorist Pierre Boulez. It can be said that due to the opportunities to study innovations implemented at the Institute for Research and Coordination of Acoustics / Music, a qualitative leap in the development of domestic music culture has taken place. The work of Ukrainian artist Alla Zagaykevych, which is associated with the creation of electroacoustic compositions, became possible thanks to training at IRCAM. The composer also implements the acquired experience in pedagogical activity, which is confirmed by the modern compositional practice of her students. The writing of electroacoustic works is of a promising nature, and their study may be the subject of further research.

Нотоиздательские каталоги провинциальных музыкальных магазинов второй половины XIX – начала XX вв.: А. Л. Бернарди, Б. В. Корейво, В. Л. Идзиковский (из фондов Российской государственной библиотеки)

The second half of the 19th – early 20th centuries were marked by intensive growth of music publishing houses and shops throughout the Russian Empire. In many cities and provinces, the music trade began to develop intensively, directly connected with the highest rise of domestic art, with the processes of formation of academic traditions and the flourishing of the national school of composition. The educational and cultural-educational tasks of the Russian Musical Society (1859), the subsequent opening of the St. Petersburg (1862) and Moscow (1866) conservatories, in many ways, turned out to be identical to the activities of large producers who took an active part in the life of these organizations. In comparison, provincial music publishers and shops, in particular, A. L. Bernardi in Odessa, B. V. Koreivo and V. L. Idzikovsky in Kiev, are sensitive indicators of cultural processes in the country`s life, create their own local history, captured in catalogs from the collections of the Russian State Library. It contains valuable data that has not been published anywhere before, allowing to find and analyze the commercial mechanisms of these enterprises, their repertoire concept and structural features. A special factor is the honorary title of commissioner of the Imperial Russian Musical Society, acknowledging the business and creative status of the producer, his advanced views and positions. The appeal to the activities of large and little-known entrepreneurs specializing in the production and sale of sheet music, musical instruments and other works of art is due to the interest in the formation and development of publishing. The scale of this phenomenon is largely associated with good goals in the name of Russian art and education, with long-term prospects for the development of musical culture, which makes it possible to expand and complement the range of its perception.

THE FORMATION OF UKRAINIAN CREATIVE GROUPS IN STRYI AND THE STRYI REGION IN THE EARLY TWENTIETH CENTURY: ARTISTIC AND CULTURAL DIMENSION

The article discusses the evolution of public concerts in Galicia during the 19th century, which were primarily of two types: commemorative events and entertainment concerts. Concert programs were diverse, featuring vocal and inStrumental performances, as well as recitations of poems and popular science lectures. An important mileStone in the development of concert life in WeStern Ukraine were the evenings dedicated to the memory of T. G. Shevchenko. These events Stimulated various forms of artiStic performance and their significance for the development of musical culture in WeStern Ukraine is immense. By the end of the 19th century, choirs began to be organized en masse in the towns and villages of Galicia, leading to the widespread popularity of secular choral performance and the need for a coordinating centre. The Lviv Boyan, a music and singing society, founded on February 22, 1891 in Lviv and its branches in other cities, served this purpose. All this created broad opportunities for the active development of the concert life throughout Galicia. In the formation of the musical culture of Stryi region in the 1920s and 1930s, choral performance played a special role, being a favourite sphere of artistic communication and organically combining the traditions of peasant song life, cult music, and concert choral practice. With the opening of branches of Prosvita and reading rooms at them, choral groups were formed in the villages. Summing up the above, we would like to emphasise once again that in the 20s and 30s of the twentieth century, musical art in Stryi and the region developed in two spheres: amateur and professional. It was significant that these areas complemented each other: amateur groups and performers sought to improve their performing skills, while professionals were always open to dialogue with listeners and assistance to amateur musicians. ConStant contacts with the capital of Galicia, Lviv, injected new forces for innovation and forward movement, and performances on the provincial Stage by world-famous Ukrainian performers Solomiia Krushelnytska, Oleksandr Myshuha, and ModeSt Mentsynskyi teStified to the higheSt artiStic Standards.

Victor Reva creative activity in the context of the development of the musical culture of South-Eastern Ukraine of the end of the XX – the beginning of the XXI centuries

The purpose of the article is to analyze the creative activity of a member of the National Union of Composers of Ukraine, choral conductor, teacher Viktor Yakovlevich Reva. The methodology consists of the application of genre-style, structural-semantic, analytical and biographical methods for the analysis of the artist’s creative activity. Scientific novelty. For the first time in Ukrainian art history, the compositional, scientific-pedagogical, and performing acts of V. Reva in the context of the development of musical culture of South-Eastern Ukraine of the end of the XX - the beginning of the XXI century is analyzed. Conclusions. At the turn of the XX - XXI centuries. V. Reva’s creative activity enriched the musical culture of South-Eastern Ukraine. The composer’s works are included in the repertoire of creative groups and performers from Kyiv, Odessa, Mykolayiv, Zaporizhia and Donetsk regions, they are used not only as a concert, but also as educational material. The influence of both classical musical heritage and modern stylistic trends can be traced in V. Reva’s compositional work. The artist’s compositional work is genre-diverse, but the spread of his work and enrichment of knowledge about it is mainly due to the appeal to choral and vocal genres, which are a priority. Keywords: Victor Reva, composer, creative activity, musical culture of South-Eastern Ukraine

Festivals of spiritual songs in socio-cultural space of Ukraine of the end of the XX - the beginning of the XXI centuries

The purpose of the article is to study the activities of festivals of spiritual songs in the context of the development of the musical culture of Ukraine in the late twentieth – early twentieth century. The methodology is based on historical and culturological approaches. A systematic method is also used to characterize festivals of the Orthodox music tradition in their connection with other components of culture; socio-cultural method – in the study of socio-cultural components of the artistic phenomenon of the festival. The scientific novelty of the work is that for the first time the activity of festivals of Orthodox sacred music as a new phenomenon in the musical culture of Ukraine is comprehensively analyzed. Conclusions. The emergence and active functioning of festivals of spiritual songs is one of the leading trends in the development of Orthodox musical culture in Ukraine. The ideological direction of the festivals is primarily of religious content, and, in addition to overcoming the negative trends in the field of culture, their leading function is the revival of orthodox traditions. Festivals of sacred music in Ukraine currently perform two main functions: educational and cultural. They contribute to the revival of the traditions of orthodox musical culture; demonstrate the traditions of orthodoxy in modern socio-cultural conditions; revive centuries-old traditions of spiritual choral singing of Ukraine; revive centuries-old traditions of spiritual choral singing of Ukraine.

Роль музыки в системе духовных ценностей и культуры предков татар в эпоху средневековья

Research objectives: To reveal the specificity of folk and professional musical traditions and their moral and aesthetic significance in the life of the medieval ancestors of Tatars. Research materials: The study uses general scientific methods of analysis, synthesis, generalization, and the main methods of historical research – namely, the historical-comparative method and the method of historical periodization. Following the principle of historicism, the author analyzed a significant number of historical sources that reflect the development of musical culture among the ancestors of Tatars from its beginnings to the middle of the sixteenth century. Also, she used the results of archaeological and ethnographic research presented in monographs, articles, and other academic publications. Basic information about the development of musical culture among the medieval ancestors of Tatars is contained in the monuments of oral and written poetry (epic legends of the ancient Turks, the dastan “Idegey”, the poems of Muhammadyar, etc.), as well as in the notes of Arab and European travelers (Ahmed ibn Fadlan, Ibn Dasta, William of Rubruck, and John of Plano Carpini). Some aspects of this phenomenon are considered in a number of historical, musicological, and ethnomusicological studies (M. Khudyakov, L. Gumilev, M. Nig­medzyanov, G. Makarov, G. Saifullina, etc.). Results and novelty of the research: The study revealed that the origins of the musical traditions of the Tatar ethnos, formed mainly in the Middle Volga region, extend back to the common Turkic forms of artistic creativity. Later, music acted as an invariable attribute of socially significant and everyday forms of artistic activity (cult, court, military, folklore) of the Tatars’ ancestors in Volga Bulgharia, the Golden Horde, and Kazan Khanate. During the Middle Ages, there was an active development of diverse genres of both vocal and instrumental music. Its stable original basis was noticeably enriched with new intonations and rhythms emanating from the repertoire of musical traditions of various ethnic groups. A special mission in the spiritual life of society was carried out by the types and genres of spiritual and secular poetry closely related to music (chanting performances, including some with instrumental accompaniment). They functioned as an effective means for moral and aesthetic education, combining a variety of pedagogical functions with strong emotional impact. By the sixteenth century, the musical culture of the Tatar people formed into an integral, reified, and original system.

Petro Potapenko’s Works in Context of Formation and Development of Music Culture of Ukrainian Diaspora

The relevance of studying the works of Petro Potapenko, one of the leading representatives of the Ukrainian music culture of the XX century, is conditioned by the general focus of the modern humanitaristics on the creative activity of emigrants and the efforts to return their artistic heritage to the national listener.
 The purpose of this paper is to define the special features of Petro Potapenko’s works in the context of development of the Ukrainian music culture of the XX century in diaspora.
 The research is carried out using a set of interdisciplinary methods, including, inter alia, a method of historical reconstruction which helps reproduce the mentality and reality of that time based on fragmentary data; biographical method — for the interpretation of facts from Petro Potapenko’s life; methods of sociological research that allow to view music and performance art in interaction with social practices etc.
 The results. We have studied the personal and artistic path of Petro Potapenko, Ukrainian bandurist, composer, choir conductor, member and art director of Taras Shevchenko Bandurist Chorus (1950–1964), founder of the first female bandurist ensemble in the Western diaspora called Girls’ Bandura Chorus of the Ukrainian Youth Association (1956).
 Over the years of its existence (1950s–1980s), the Girls’ Bandura Chorus led by Petro Potapenko gave 59 independent concerts and 82 performances in the largest Ukrainian communities in the USA and Canada. The most prominent of them is the 1964 concert that commemorated the unveiling ceremony of Taras Shevchenko’s monument (Washington).
 During many decades, bandurist ensembles conducted by Petro Potapenko had been powerful centers of Ukrainian bandura art, promoting the national music culture by giving concerts, holding topical events and performing with a Shevchenko program as well as publishing gramophonic records and albums.
 The topicality. We have tried to characterize the influence of the social and cultural space and cultural and artistic environment on the formation of Petro Potapenko’s creative personality.
 The practical research. We have analyzed the historical and cultural aspects of the artist’s works in the context of the abovementioned ensembles and provided academic circles with poorly known biographical facts. We have defined Petro Potapenko’s contribution to the development of the Ukrainian music culture and bandura art in the US diaspora as well as the meaning of his activity to the Ukrainian culture of the XX century on the whole.