Abstract:

The article analyzes Ukrainian bandura art as an artistic and educational phenomenon. Ukrainian bandura art receives scientific interpretation as one of the defining national cultural traditions. The historical and mental foundations of bandura art in Ukraine are revealed. Bandura art is considered an important meaningful constant of Ukrainian national self-identification.

Based on the study of rare domestic and foreign scientific sources, various theories of the origin of the bandura are considered. The opinion is expressed regarding the originality of this musical instrument as purely Ukrainian. Understanding a wide range of sources, as well as various versions of the painting «Cossack Mamai» made it possible to assert that the defining features of the Kobza at the initial stage of its existence were an extended body, a narrow neck, a small volume of strings and frets on the fretboard. In the 16th century, short strings were added to the Kobza strings, which were the main ones, and were called side strings. Starting from this period, this musical instrument began to be called bandura for the most part.

In the 16th and 17th centuries, the art of Ukrainian kobzars and bandurists flourished. It became an important factor in the formation of the national consciousness of the Ukrainian people, who resisted foreign invaders. Historical songs and dumas became living monuments of this struggle.

Both names of musical instruments were inherited by subsequent generations and entered artistic use. Kobza and bandura were common musical instruments among the Ukrainian Cossacks. The great artistic talent of the outstanding Ukrainian philosopher Hryhoriy Skovoroda is noted, who played the bandura well and created melodies for his poems. The establishment of the Music School in the city of Hlukhiv in 1738 is identified as an important milestone in the history of Ukrainian musical culture. An analysis of brotherly music workshops and schools is made. The scientific achievements of Mykola Lysenko in the field of kobzar art are highlighted. The cultural universe of prominent personalities of bandura art, such as Hnat Khotkevych and Vasyl Yemets, is revealed. The development of scientific thought in the field of bandura art and pedagogy is traced. The significance of studying bandura art in the context of forming the artistic and aesthetic experience of students in the ZZSO is noted.

Keywords: bandura art, national consciousness, musical instruments, performing interpretation, scientific studies on bandura.

References:

1. Diyachi ukrayinsʹkoyi nauky ta kulʹtury: Narysy pro yikhnye zhyttya ta tvorchistʹ. (2010). [Figures of Ukrainian Science and Culture: Essays on Their Lives and Work]. Kyiv – Chernivtsi.

2. Dutchak, V. G. (2013). Bandurne mystetstvo ukrayinsʹkoyi diaspory. [Bandura Art of the Ukrainian Diaspora]. Ivano-Frankivsk.

3. Karas, H. V. (2012). Muzychna kulʹtura ukrayinsʹkoyi diaspory u svitovomu konteksti 20 stolittya. [The Musical Culture of the Ukrainian Diaspora in the Global Context of the 20th Century]. Ivano-Frankivsk.

4. Lysenko, I. (2005). Slovnyk ukrayinsʹkykh muzykantiv. [Dictionary of Ukrainian Musicians]. Kyiv.

5. Moskalenko, V. (2013). Lektsiyi z muzychnoyi interpretatsiyi. [Lectures on Musical Interpretation]. Kyiv.

6. Nemkovych, O. M. (2006). Ukrayinsʹke muzykoznavstvo yak systema akademichnykh dystsyplin. [Ukrainian Musicology as a System of Academic Disciplines]. Kyiv.

7. Omelchenko, A., Nayenko, M. (1967). «Rezonuye bandura». [«The Bandura Resonates»].