Ritual Genres Research Articles

SOCIAL NETWORKS FOR EDUCATORS AND SCIENTISTS IN ASPECT OF LINGUIST PERSONOLOGY: SPEECH GENRES OF IMAGE CREATION

The article analyzes the main speech genres of posts on the Facebook social network that present the personal image of scientists and educators. The purpose of the research is to determine and characterize the peculiarities of the presentation of the professional image of scientists and educators in social networks in terms of the use of speech genres. The object of the research is the verbal content of the network discourse, and the subject of the research is the linguistic means of representing the linguistic personality in the network discourse. The material for the analysis was the open personal pages of Ukrainian scientists and educators in the Facebook, in particular the actual verbal content for the year 2024. In total, more than 100 profiles of Ukrainian scientists and educators were analyzed.It is proven that the linguistic personality of a scientist and educator is formed primarily in the process of professional activity and socialization, and its presentation in social networks involves the creation of author’s content, active participation in professional communities and interaction with colleagues. The main form of presentation of a professional image is a personal page that combines verbal and non-verbal content. Within the limits of verbal content, the main means of forming a professional image is an original post in which different speech genres are distinguished. The most common speech genres representing verbal content on the personal page of a scientist and educator are a report and an announcement. Both genres are informative and are designed to acquaint the public with the achievements and activities of the content author. Ritual genres and dialogic interaction with colleagues are represented to a lesser extent. The least frequent is the analytical genre, which has features of argumentative discourse. In addition to original posts, scientists and educators share other users’ posts on social networks, participate as commentators in the discussion of current problems, in particular within the framework of specialized virtual communities.

Первая речь члена парламента как жанр парламентского дискурса: функциональный аспект

Introduction. The paper focuses on the genre of a maiden speech, which is the first official speech of a newly elected parliamentarian. The relevance of the research is due to the fact that no special studies of this genre have been presented in the linguistic literature so far.
 Aim. The study aims at discovering and describing the functional features of a maiden speech. 
 Methodology and research methods. The methods used in the work include the descriptive method, the methods of discursive, contextual, functional and stylistic analysis.
 Results. As a result of the study, the following main functions of a maiden speech are identified: the functions of presentation, social identification and solidarity, the performative function, the functions of orientation, differentiation and confrontation. Special features and means of implementing each of the functions are considered. It is concluded that a maiden speech is a “hybrid” speech genre, in which the signs of ritual genres are combined with the signs of orientational genres; the features of agonal genres can also be found in a maiden speech.
 The scientific novelty of this study lies in the functional approach to the description of the speech genre under consideration.
 The practical significance of the paper is determined by the fact that its results can be used in the courses of lectures on political linguistics, discourse theory, genristics and rhetoric.

Spring-Time Ritual Folk Songs from Zvenyhorodshchyna: Ethnography, Typology, Geography

Spring-time ritual folk songs are currently a relict phenomenon in the local tradition of the historical Zvenyhorodka region (which covers the current Zvenyhorodka and parts of the neighbouring regions of the Right Bank of Cherkasy region) studies, so each recorded unit (song, text, description of a ritual or even a mention of their former life) is perceived by the researcher as an very important finding.
 In the Eastern Podillia region of Cherkasy region (on the lands of the historical Uman region) until recently, you could hear stories about the rituals and songs of the spring-time cycle. On the other hand, spring-time melotypes are almost completely absent in the Naddnipryanshchyna villages (except for Nadtyasmynnia area). In this way, Zvenyhorodshchyna appears as the frontier of the actual ritual folk songs certain layer existence and at the same time – a transition zone between two large ethnographic regions, which absorbed the musical and stylistic features of both of them.
 In the most complete collection of calendar and family rituals of the Right Bank of Cherkasy region, the beginning of the 20th century – monograph "Zvenyhorodshchyna" by A. Krymskyi, in addition to a detailed description of customs, rites and comments on them, contains more than 40 texts of spring dances, games and songs, as well as fasting verbal verses – "khrystuvannia", performed during the round of courtyards by children and young people on Easter. A certain number of samples of spring-time ritual genres are also found in music and ethnographic publications of different years and in the author's contemporary recordings.
 The largest part of the local spring repertoire is made up of round dance and dance songs: "Shum", "Kryvyi Tanec", "Mak", "Zaichyk", "Proso", "Podolyanochka", "Verbovaya Kladochka", "Tuman", etc. Spring dances begin to be led and sung from Easter or even during Lent.
 Among the genres of spring-time ritual singing, there are unique examples of early spring appeals, a group of lyrical ("velychalni" according to Y. Yefremov) ("Oh vesna, vesna, vesnyanochka", "Oi u pravuyu seredu", etc.) and timed ones to the spring season songs.
 The collected and analyzed musical and ethnographic data formed the basis of typological maps that allow us to draw conclusions about the geographical distribution of certain spring melotypes in the Zvenyhorodshchyna region.

TWITTER SOCIAL NETWORK: MAIN DISCURSIVE FEATURES IN UKRAINIAN-SPEAKING AND ENGLISH-SPEAKING COMMUNICATIVE ENVIRONMENT

The article is devoted to a comparative analysis of the speech behavior of Ukrainian and English speakers on the social network Twitter. The specifics of Twitter as a social network and the main speech genre – tweet are characterized. A comparison of the frequency of network activity of Ukrainian and English speakers on Twitter is presented. A comparison of the speech behavior of users on Twitter and Facebook. The structural, semantic and linguo-pragmatic parameters of tweets in the Ukrainian-language and English-language communicative environment are determined. English-language tweeting has been shown to be highly subjective and based on communicative strategies of argumentation and discrediting; Ukrainian-language tweeting tends to involve ritual genres and self-presentation strategies as a priority.

Two Mongolian Ritual Texts from the Early 19th Century:

This article intends to publish two Mongolian manuscripts from the Mongolian ritual manuscripts project (Masaryk University) representing two ritual genres rarely occurring among Mongolian texts: an offering text (mchod pa, sang) related to the veneration of the mountain Dasibalbar in contemporary Khentei aimag and the text for the “stability of life” (zhabs brtan, ölmei batudqaqu) of the newly recognized Fifth Jebtsundamba Khutuktu which was addressed to him before his arrival to Mongolia. Both texts are linked by the common time of their creation about the arrival of the Fifth Jebtsundamba Khutuktu (1815–1841) to Khalkha. The paper includes transcription and translation of the texts accompanied by commentaries about the genres they represent and circumstances of their composition. The article raises questions about bilingualism and the role of Mongolian in the Buddhist ritual.

Aggression in diplomatic notes – a pragmatic analysis of a Chinese-American conflict in times of colonisation

Abstract This study examines veiled aggression in diplomatic language use from the point of view of speech acts. More specifically, we examine how the speech act of ‘Tell’ is used to realise aggression in a small corpus of diplomatic notes written between February and May 1844, exchanged between a US American and a Chinese diplomat. Tell, by default, presents a ‘neutral’ informative illocution. However, in contexts of diplomatic conflicts, particularly when a threat is made, realising Tell often helps the aggressor to deliver menacing messages under a veneer of civility. Tell is also often intertwined with other speech acts through which aggression is realised, such as Request and Complain. By modelling the aggressive function of Tell in the ritual genre of diplomatic notes, this paper fills a knowledge gap by studying aggression in a setting in which aggression operates within the boundaries of the ritual frame of a diplomatic genre.

Календарные обряды и праздники алтайцев и телеутов: классификация и общая характеристика

The paper is devoted to the classification and general characteristics of the calendar rituals and holidays of the Altaians and Teleuts. The research material covers published and unpublished archival and field material of the ritual folklore of the Altaians and Teleuts. For the first time, a general classification of the calendar rites of the annual cycle is given, taking into account the lunar calendar: winter, spring-summer and autumn rites. Winter calendar rituals and holidays of the Altaians are connected with the New Year celebrations (Chaga Bairam) according to the Eastern calendar when a pagan ritual of feeding the fire (san salar) is performed. The ritual actions typical of other rites appear in Dyilgayak ritual for welcoming spring. The spring-summer and autumn calendar rites performed by the Altaians, both southern and northern, are associated with the rite of sacrifice to the earth (Dyazhyl Byur and Sary Byur, Kocho-Khan). In well-wishing, the glorification of the earth (Jer-suu), Altai, deities of the highest pantheon is a cross-cutting theme. Altai songs (jangar kozhong) performed during these rituals are also aimed at praising Altai, the forces of light. The main motifs of game ritual well-wishes and tabyr songs during the autumn ritual of fertility, Kocha-Khan, are the motifs of fertility and increasing wealth. A distinctive feature of the Teleuts’ winter calendar rituals is such ritual genres as Christmas carols yurei and tabyr performed in spring and autumn rites of worship of the earth.

Areology of the Birth and Christening Tunes of the West of the Ukrainian Ethnic Territory and Adjacent Lands: the Perspective from Northern Pidlassia

The considerable progress of Ukrainian ethnomusicology in the field of structural and typological researches in the recent decades has generally clarified the melotypology and melogeography of the most ritual genre cycles of ethnic Ukraine and the adjacent areas, except the birth and christening songs. This is due to the small number or complete absence of recordings of this kind of songs in most regions of Ukraine.
 However, there are some areas where birth and christening songs exist in more than a few numbers and form a sufficiently integral melotypological complex. These areas are Northern Pidlassiaand Nadsyannia (the Syan river region). Generally, Western Ukraine is represented by a small number of records of birth and christening songs, but this nevertheless dominate over the rest of the territory, which is represented mainly by single samples. In the represented study, an attempt to fill the existing gap in the typological study of birth and christening songs of the western territories of Ukraine is made. The sources are published recordings, the author’s own materials, as well as materials from the Archive of the Laboratory of Music Ethnology at the Lviv National Music Academy named after Mykola Lysenko.
 Musical and folklore studies of birth and christening rites are not numerous. Among them it is necessary to mention a sizable monograph of Anatolyi Ivanytsky «Songs are from Birth and Christening» (Ivanytsky, 2013) and also collections of Halyna Sokil, Stephan Copa and others.Iryna Klymenko dedicated a special paragraph to this genre in the monograph «Ritual Melodies of the Ukrainians in the Context of the Slavic-Baltic Early-Traditional Melomassive: Typology and Geography» (2020).
 The comparative analysis of the total amount of the birth and christening tunes reveals a significant role in this genre cycle of the melotypological group on the basis of the spondeic seven-component structure, which is the most represented in the western Ukrainian and adjacent territories.
 The next melotypological group combines various forms based on the five component structure. Melodic type with a lyric structure V(5+5)2 has two rhythmic versions. Quite often, the same texts can be performed in different rhythmic variants. It has been observed that the tunes of the first rhythmic type are connected mainly with ritual lyrics. Instead, the second type combines mainly with common plots.
 A unique type based on a five-component structure, which has no analogues, is a three-part form V(5+5+5)2, which spreads on Nadsianna, less on Opillia territories. These melodies usually are combined with the same poetic lines «Early on Sunday, early on Sunday as a white day» rarely with some slight variants in the first line.
 Speaking of five-syllable structures we should mention songs with the so-called «arrow-like» rhythm. Although only a few fixations are known in Western Ukraine, the central and eastern territories of Ukraine and Belarus are represented more richly. Instead, the West part represents a kind of «hybrid» form based on this rhythmic structure.
 Perhaps the most widely used ritual melodic type in Eastern Europe with the verse structure V(5+5+7)2 and birth and christening function distribute on the territory of north-western Ukraine with a concentration on Nadsyannia.
 Another widespread ritual rhythmical form based on the iambic six-component structure is represented in tirade and strophic compositions, but the records of these songs, unfortunately, are rare.
 Summarizing the melotypological and meloareological characteristics of the birth and christening melodic types of the ethnic west of Ukraine, it should be noted that the two densest centers of their existence are Northern Pidlassiaand Nadsyannia. However, Northern Pidlassiais characterized by a richer melotypological set: six melotypes, while in Nadsyannia there are only three ones. In addition, the folk melodic types of these two areas actually differ.
 In general, the birth and christening genre cycle of Nadssiannia seems to be separated from the surrounding territories with its «unique» song «Early on Sunday», which partially spread to neighboring territories. Additionally, there is no any recorded sample based on the seven-component structure, as well as no samples of six-syllable melodies were encountered.
 The range of melotypes based on the five-component structure is the most numerous and most widespread in the territory of the ethnic west of Ukraine. A group of related seven-components melodic types is spread in the BelarusianUkrainian area. The melodic basis of the vast majority of the birth and christening songs is a system of stable tones at a distance of a fifth with a minor inclination of the scale.

RITUAL WORDS AND SONGS IN THE MUSICAL FOLKLORE OF THE DARGINS

The structure of the musical folklore of the Dargins is considered in accordance with the social organization, in relation to the levels of the rural community: tribal (tukhum), rural neighbor (jamaat) and inter-village (khureba). In the article, the author, basing on the field expedition material from the personal archive, focuses on the ritual genres of the tribal and calendar cycles that exist in both applied and ritual functions. In the ritual genres, the forms of performance are revealed, and the attachment of vocal and instrumental genres to gender and age groups is also traced.

Structural and linguistic peculiarities of a ritual genre in political discourse (as exemplified in the 2020–2021 new year addresses of the Chancellor of Germany)

Structural and linguistic peculiarities of a ritual genre in political discourse (as exemplified in the 2020–2021 new year addresses of the Chancellor of Germany)

COMMUNICATIVE STRATEGIES IN THE MOVEMENT OF UKRAINIAN PRESIDENTS: RITUAL MOVEMENT IN GENRES

The article is devoted to the development of a typology of communicative strategies presented in the ritual genres of the presidential discourse of Ukraine. Greetings, addresses and inaugural speeches of all Ukrainian presidents are considered in order to highlight and characterize the selected strategies of communication with the recipients. The communicative strategy is interpreted as a general scheme, a plan for the implementation of the communicative plan, which involves the use of specific speech actions (tactics and appropriate language tools. In presidential discourse strategies of consolidation, self-presentation and agitation are singled out. It is proved that the strategy of consolidation realizes the intention to unite the president with the people, the strategy of self-presentation - the presentation of the president as an extraordinary person, the politician-legend, the strategy of agitation - the motivation to support the politician-speaker. Each strategy is implemented using appropriate communication tactics and language tools.

Yakut national school of composers and works of the first Even composer P. M. Starostin: review experience

This article is dedicated to the life and works of the first Even composer P. M. Starostin (1944-2013) in the context of evolution of the national school of composers in the East. The goal of this research consists in review of the life and works of the Even composer P. M. Starostin. The object of study is the professional musical art of the Evens, while the subject is the artistic heritage of the first Even composer. The article is based on the comparative and typological methods, with consideration of theoretical insights of the national musicologists dedicated to the development trends of young national schools of composers (M. N. Drozhzhina, M. Y. Dubrovskaya, L. L. Pylneva, and others.). The following conclusions were made: professional becoming of the first Even composer P. M. Starostin was within the framework of Yakut national school of composers; the primary source for his works became the rich Even folklore – epic tales, ritual genres, song lyrics. The artistic heritage of P. M. Starostin is unique and versatile in genre, featuring the large forms such as opera and cantata, as well as the chamber-vocal oeuvres and compositions for children. The geography of the young national schools of composers spread to the northeast of Russia, where is successfully functioning the Yakut national school of composers. The Yakut national school of composers becomes the new center, forming prerequisites for the establishment of national schools of composers of the indigenous peoples of the North living in the Arctic zone. The reviewed experience of the first Even composer P. M. Starostin indicates this process. The novelty of this research consists in introduction of information on the life and works of the first Even composer P. M. Starostin into the scientific discourse. Such analysis was carried out for the first time.

СВАДЕБНЫЙ МУЗЫКАЛЬНО-ПОЭТИЧЕСКИЙ ФОЛЬКЛОР РУССКОГО НАСЕЛЕНИЯ ЮЖНОГО УРАЛА

The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.

Рождественские речи испанских монархов как ритуальный жанр институционального дискурса в сопоставительном аспекте

The article deals with the Christmas messages of two Spanish monarchs, Juan Carlos I and Philip VI, issued from 1975 to 2018. These texts are considered to be a ritual genre of institutional discourse and are analyzed in the context of political rhetoric. Since the restoration of the monarchy in Spain in 1975, the Spanish King’s Christmas messages are thought to be the main instrument of communication of the Head of State with his citizens. Although they do not have any legal status and belong to the realm of customs and traditions, these speeches receive wide media coverage because they are one of the few occasions when the monarch addresses the Spanish people on television. This paper highlights the idea that the messages are ideologically driven and politically motivated since their major purpose is to strengthen the image of the monarchy and to convince people of the necessity and advantages of peaceful coexistence, respect for the law, and national pride. The article also focuses on the images of the past, the future, the speaker, the addressee (Spanish society), and the country. The scientific value of this paper is in providing a comparative analysis of the communicative potential of the Christmas speeches issued by Juan Carlos I and Felipe VI. It was revealed that the two monarchs appealed to the same values and feelings of their people. Juan Carlos I and Felipe VI underlined the importance of peaceful coexistence in Spain, a highly democratic country where the monarch is the symbol of its unity and permanence. As for linguistic aspects, the speeches comply with the rules of classical oratory and are characterized by a set of common features: for instance, both monarchs employ the same rhetorical devices and communicative strategies in order to impact the audience and make the message more direct and influential. Nevertheless, Felipe VI makes his messages more personal, emotional and appealing, in comparison with the messages of his predecessor. The authors described invariant and variative features of the Christmas speeches issued by two Spanish monarchs taking into account some differences which can be explained by the social, economic and political context of modern Spain.

ATTRIBUTIVE SPACE OF THE SACRED CENTER OF UKRAINIAN CHRISTMAS CAROLS (WORLD TREE – CHURCH)

Study of Christmas carols as an archaic ritual genre of Ukrainian folklore is an actual problem of modern linguistics. A comprehensive analysis of the attributive space of key images of a calendar ritual song, in particular sacred centers, will help reconstruct the mythological model of the Ukrainian world and allow the identification of fragments of folk culture that are present.The purpose of our exploration is to study the symbolic space of the sacred center of the carol songs, taking into account the semiosphere of the calendar holiday. The object of the research is the language of Ukrainian caroling texts. The subject is the semantic and functional features of the epithets on the designation of the mythological tree and the church in the Ukrainian carolytic texts.The tree is one of the main elements of the archaic picture of the world, embodying the spatial and temporal coordinates, symbolizing the structure of the universe. The mythological tree is denoted by a number of epithets that characterize it according to various parameters (height, latitude, diameter), indicate deep roots, crown delusion, flowering and simulate the triune vertical structure of the universe. Such definitions always have a symbolic meaning. It is determined that the image of the mythological tree is often transformed into an image of a church characterized by a greater structural variability. The image of the church is more representative of the higher space.It is proved that the symbolism of the images of the tree and the church is directly related to the semiosphere of Christmas and New Year holidays and the pragmatics of the genre, attributive space reflects the ancient mythological notions of the structure of the world. The proposed exploration outlines the prospects for further analysis of the peculiarities of the figurative system of calendar songs, taking into account the peculiarities of the mythological outlook and ritual contexts.

HAPPY NEW YEAR MESSAGES ADDRESSED BY THE HEAD OF THE REGION TO THE PEOPLE AS A GENRE OF RUSSIAN AND CHINESE POLITICAL DISCOURSE

This article compares the peculiarities of lexical content and the communicative-pragmatic structure of Russian and Chinese congratulations on the New Year given by the Head of the region. Happy New Year messages of politicians are seen as a ritual genre of political discourse. Identifying the national-cultural specificity of the politicians' speech behavior makes it possible to detect the relationship between the government and the people, reveals the socially- and ideologically-oriented values that govern the behavior of politicians. The comparative aspect makes it possible to see the national-specific features in the design of this genre, its cultural and social conditioning in the minds of different peoples, the ideological and ethno-cultural position of politicians, their value orientations, and the features of the corresponding social reality. The study was based on 60 Russian New Year congratulations from governors of various regions and 60 Chinese Happy New Year messages from mayors of cities published on the website of government administrations or the media. The comparative research method including contextual and quantitative analyzes using statistical data was used by the author of the article. The purpose of this study consists in clarification of the genre-expressing markers of the official New Year greetings in Russian and Chinese societies and in description of the semantic-stylistic and social-ideological nature of the political discourse manifested in the texts of the given speech genre. The theoretical significance of the study lies in the fact that the results can be applied in the comparative study of the problems of political discourse in the Russian and Chinese languages, as well as in the practice of teaching translation. New Year congratulations of regional politicians to the people in Russian and Chinese societies focus on strengthening and maintaining power. The Chinese congratulations of regional politicians are more informative and politicized, and the Russian congratulations of regional politicians are more ritualistic.

Semantics and functioning of epithets for the designation of the wreath in Ukrainian calendar ritual poetry

Considerable attention to the study of specific Ukrainian folk oral literature, observed recently led to the need for linguistic exploration of calendar ritual songs, because they most clearly record the echoes of the past and at the same time fix the peculiar changes caused by modern civilization processes. The folk poetry epithets are a conceptually important component of the artistic structure of folk works, including calendar-ritual poetry, as they relate to all the main images depicted in the songs. In the attributive space of calendar-ritual texts, the basic features of the outlook of the people are coded, as well as the meanings necessary for understanding the reconstruction of the mythological model of the Ukrainian world. Wreath is a ritual object that appears in all calendar ritual genres and has a wide range of epithets. It is determined that the names of plants are the most productive attributives for the designation of the wreath. This is due to the ritual practice of making wreaths from certain plants, endowed with symbolic semantics. Instead, epithets related to the names of jewels and express the idea of value are later in origin. It is observed that among the analyzed attributives, those whose have the positive evaluative component in the semantic structure are predominant. This is due to pragmatic studied texts, the purpose of ritual practices, mainly to the preservation, enhancement and production of important and useful things for person, and an overall positive reflection of the symbol of the wreath in the folk tradition. Attention is drawn to rarely used, but symbolically spacious epithets, the analysis of which contributes to the conceptualization of individual fragments of the world's mythological model. Consequently, the epithet characteristic of the wreath as a ritual object depends on the subject of the text, the speaker's orientation on the appropriate speech strategy to achieve the desired goal, as well as on the peculiarities of the mythopoetic model of the world. Epithets of the autumn-winter cycle are mostly secondary, transposed both from texts of spring-summer songs, and borrowed from the wedding ritualism of Ukrainians.

The Ewe that was a Scapegoat Bride: A New Look at the Hittite Bestiality Purification Ritual KUB 41, 11+

Abstract The ritual KUB 41, 11+ is known especially for its striking treatment of the purification of bestiality. This article challenges the common interpretation that the ritual involved a marriage between the sexual offender and the victimized sheep or goat, showing that no evidence suggests such a marriage. Instead, the ewe-bride motif may be interpreted as an elaborate variation on the scapegoat ritual genre, offering an interesting twist to the adornment of the scapegoat before it was sent away.

Genre-ritual popuri – an unique song sample from the upper reaches of the Goryn River

The article is devoted to the consideration of one unusual vocal composition in the traditional Ukrainian wedding ritual. The purpose of the publication is, firstly, to present the work itself and introduce it into scientific use; secondly, to attribute it from the point of view of genre features and ritual function; thirdly, to find out whether set of episodes that form a complex and highly original compositional form is random, which form a complex and very original compositional form. The study is based on a complex of analytical methods , which are determined by the peculiarities of the composition. Thus, the analysis involves several levels of its organization –such as genre, syllabo-rhythmic, scale-melodic, and subject-textual ones. The village of Zaluzhzhia in the Khmelnytskyi region is located in the upper part of the basin of the Horyn River, in an area that belongs to the transition zone between the Podillia and Volyn regions. As everywhere in Ukraine, the traditional rural wedding ritual lasted several days. His final stage – “ perezva ” – is always filled with entertaining game scenes, parodies of a real wedding ceremony, comic dialogues and songs that often have erotic subtexts. One of these songs turned out to be very strange and even mysterious; local residents sing it just during the “ perezva ” ritual. Here are the main features of this vocal composition: a) a comic poetic subject with elements of fiction, where all events are mixed up fantastically. At the same time, they are quite logically connected in a single subject chain; b) a complex form that goes far beyond the strophic. The song consists of six different episodes, which determine its form and size; c) these episodes do not belong to the same genre cycle – the wedding cycle, but to completely different ones: in addition to the wedding songs, there are presented “quotes” from the texts and melodies of calendar folk songs – spring-time round dances, summer-time Kupalo songs, and winter-time Schedrivky songs. The authors of the article describe and analyze this folklore phenomenon in details – its storyline and internal logic, as well as possible subtexts; rhythmic and sound-pitch organization; compositional form. The study leads the authors to the following conclusions: The main function of such songs in the wedding ritual is entertaining, laughter. Its traditional, non-random nature is indisputable, since many times repeated fixations of a song at a distance of several months each time gave the same result – the same sequence of poetic texts and melodies, without any significant structural changes; Such songs,together with fragments of songs from various ritual genres, from which they are formed, really exist in the region. The architectonics of this song medley reveals signs of several different musical forms – such as two-part and three-part reprisal forms, rondo, and concentric forms. The question of such songs origin remains open: we cannot definitely say how old they are, whether their performing tradition was spontaneous, and whether its birth was due to an individual author creation

«Zvenyhorodschyna» by Ahatanhel Krymskyi and Contemporary Investigations of Ritual Folk Singing Tradition from Right-Bank Cherkasy Region

The purpose of the article is to highlight the little-known pages of regional ethnological and folkloristic studies by Academician Ahatanhel Krymskyi. His monograph, devoted to the study of traditional culture and folk poetry from the native land of Taras Shevchenko in Zvenyhorodka region, contains invaluable ethnographic information and texts of the ritual songs. Materials collected by A. Krymskyi in the second half of 19 th – early 20 th centuries became as the start-point and background for field research for the author of this publication, the tracks of a scientist in the same territory at present, already in the beginning of 21 st century. The results of such studies carried out with a gap of more than a century, allowed to elaborate much clearer definition of the two large historical and ethnographic zones – the Naddnipryanshchyna and Eastern Podillia – demarcation line. In accordance with the stated theme, the article uses a historical-ethnographic approach to the consideration of materials, as well as musical-analytical and comparative research methods. The scientific novelty of the publication consists in comparing the conclusions of A. Krymskyi, made in the field of ethnoregionics, with our own latest musical and ethnographic data. In the process of analyzing musical and ethnographic material, the following conclusions were obtained. The first group of differences, by which it is possible to determine the distinction between neighboring traditions, is at the level of ritual genres and their melotypes. So, the presence of the winter type and forms based on the rising ionic, spring and Kupala songs and ceremonies, wedding types based on 5- and 7-syllable groups can serve as a clear marker of the Eastern Podillia tradition. The Naddnipryanshchyna zone, in turn, is characterized by the presence in the wedding song of the type and 4-tonal tirade in pure form, as well as the complete absence of spring- and summer-time ritual folk songs. Not typical is the existence of kolyadki in form . The second group of differences concerns the musical mode and scale sound-organization of ritual melodies. A wider scales determine the belonging to the Naddnipryanshchyna tradition, narrow – to the Eastern Podillia region. Another group of differences here is associated with performing stylistics and type of song texture. Thus, the Naddnipryanshchyna tradition is characterized by a developed heterophony with a subtle solo voice in wedding and Kupalо tunes, and in specific local ritual and song style with a slower tempo of performance and its significant fluctuations, chants of verse syllables, melismatics hereby. In turn, the Eastern Podillia ritual folk songs are characterized with greater mobility and stability of the tempo, as well as with a monodic type of melodic texture. One of the conclusions of the study and, in the long run, melogeographic mapping was a clarification – on the ritual folk songs materials – is a hypothesis, previously put forward by ethnographers and dialectologists, about the border between Naddnipryanshchyna and Eastern Podillia. It turned out that the strip of territorial demarcation of these two contrasting musical and regional traditions forms not only the coast of the river Hnylyi Tikych, but also its smaller tributaries. A part of this border strip is the contemporary Cherkasy Zvenyhorodschyna region. Taking into account the multiplicity and diversity of features from both traditions, as well as the heterogeneity of their interaction, we can safely attribute this territory to the number of vivid and illustrative examples of transitional musical and ethnographic zones.