Ukraine Music

Ukrainian music covers diverse and multiple component elements of the music that is found in the Western and Eastern musical civilization. It also has a very strong indigenous Slavic and Christian uniqueness whose elements were used among the areas that surround modern Ukraine.[1]

Ukraine is also the rarely acknowledged musical heartland of the former Russian Empire, home to its first professional music academy, which opened in the mid-18th century and produced numerous early musicians and composers.[2]

Ukraine Music

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Modern Ukraine is situated north of the Black Sea, previously part of the Soviet Union. Several of its ethnic groups living within Ukraine have their own unique musical traditions and some have developed specific musical traditions in association with the land in which they live.

Ukraine found itself at the crossroads of Asia and Europe and this is reflected within the music in a perplexing mix of exotic melismatic singing with chordal harmony which does not always easily fit the rules of traditional Western European harmony.The most striking general characteristic of authentic ethnic Ukrainian folk music is the wide use of minor modes or keys which incorporate augmented 2nd intervals. This is an indication that the major-minor system developed in Western European music did not become as entrenched in Ukraine.

4. The other vocal styles are marked by the influences exerted by European music, by paraliturgical music of Danylo Tuptalo and his circle in the early 18th century, and later by classical music and urban culture.

One of the most active proponents of Ukrainian vocal music is Nina Matviyenko, along with recently established groups dedicated to the preservation of traditional polyphony such as "Bozhychi", "Hurtopravci", "Volodar", "Korali" and "Drevo". Popular folk songs include:

The traditional dances of Ukraine include: the Kozak, Kozachok, Tropak, Hopak, Hrechanyky, Kolomyjka and Hutsulka, Metelytsia, Shumka, Arkan, Kateryna (Kadryl) and Chabarashka. Dances originating outside the Ukrainian ethnic region but which are also popular include: the Polka, Mazurka, Krakowiak, Csrds, Waltz, Kamarinskaya and Barynya. Ukrainian instrumental and dance music has also influenced Jewish (Hava Nagila-Let's rejoyce) and Gypsy music and much of it was included in the repertoire of itinerant klezmorim.

Under the inspiration of noted traditional bandurist Heorhiy Tkachenko a Kobzar Guild was re-established in 1991 in Kyiv by Mykola Budnyk in order to revive and foster the ancient kobzar traditions. The Guild unites many singer-musicians in Ukraine and the Ukrainian diaspora. Many of its members are not formally Conservatory trained.

With the establishment of the Soviet regime in Ukraine a policy based on state atheism was instituted which gradually grew to an intolerance to organized religion. Religious music was not supported by the regime and in time was purged from performance. Many aspects of classical music were also branded as being bourgeois and decadent.

In North America pseudo-folk or "reconstructive" bandurists such as Zinoviy Shtokalko, Hryhoriy Kytasty, Julian Kytasty, Victor Mishalow, et al. have played a significant role in defining Ukrainian ethnicity in the New World, while fusing traditional musical material with new possibilities offered by contemporary instruments.

Of the traditional musics of non-Ukrainian ethnic minorities living in Ukraine possibly the richest and most developed is that of Jewish music (including Klezmer, cantorial, Yiddish-language folksongs, and Yiddish theatre music) which can trace most of its origins to the Jewish Pale of Settlement and to South-western Ukraine. It is estimated that one third of the total Jewish population of Europe lived on Ukrainian ethnic territory at the turn of the 19th century. Therefore a number of Soviet and Russian Empire Jewish folklorists collected and documented Jewish music primarily in Ukraine, including S. Ansky, Susman Kiselgof, Moisei Beregovsky, Joel Engel, and Sofia Magid. Many of these collected works are now in the possession of the Vernadsky National Library of Ukraine.

Russian music has also had a strong base for development in Ukraine. Many of the early performers on Russian folk instruments came from Ukraine and these performers often included Ukrainian melodies in their repertoire. The 4 string Russian domra continues to be used and taught in Ukraine despite the fact that it has been replaced by the 3 string domra in Russia proper.

Composers of Ukrainian ethnicity that lived in Ukraine during the 19th century are associated with the a national school of music that was influenced by Ukrainian folk tunes and texts. Non-Ukrainian composers who lived in territories that now form part of modern Ukraine, such as Franz Xavier Mozart, Isaak Dunayevsky, Rheinhold Gliere, and Sergei Prokofiev, rarely composed music that influenced in this way. Ukrainian-born composers who lived abroad, such as Dmytro Bortniansky, Maksym Berezovsky, Artemy Vedel, Dimitry of Rostov, Mykola Fomenko, Yuriy Oliynyk, Zinoviy Lawryshyn, Wasyl Sydorenko, Mykola Roslavets and Dunayevsky, have had an influence upon Ukrainian classical music.[citation needed]

During the Baroque period, music was an important discipline for those that had received a higher education in Ukraine. It had a place of considerable importance in the curriculum of the Kyiv-Mohyla Academy. Much of the nobility was well versed in music with many Ukrainian Cossack leaders such as (Mazepa, Paliy, Holovatyj, Sirko) being accomplished players of the kobza, bandura, or torban.

In the course of the 18th century in the Russian Empire, court musicians were typically trained at the music academy in Hlukhiv and largely came from Ukraine. Notable performers of the era include Tymofiy Bilohradsky, who later studied the lute under Sylvius Leopold Weiss in Dresden; his daughter Yelyzaveta, who was a famous operatic soprano; and Oleksiy Rozumovsky, a court bandurist and the morganatic husband of Empress Elizabeth.

The first professional music academy of the Russian Empire was established in Ukraine in Hlukhiv in 1738, the Hlukhiv Music Academy, where students were taught to sing and play violin and bandura from manuscripts. As a result, many of the earliest composers and performers of the Russian empire were ethnically Ukrainian, having been born or educated in Hlukhiv or having been closely associated with this music school.

During the 19th century, musical nationalism arose in Europe, characterized by an emphasis on national musical elements, and associated with the growth of national consciousness of European peoples. A Ukrainian nationalist movement in music appeared during the late 19th century. Ukrainian writers, poets, and professional musicians used folklore to arrange folk songs. The opening of the first professional theatres in Kyiv (1803) and Odesa (1810), which staged works on national themes, played an important role in the formation of Ukrainian opera. the first of which was Zaporozhets za Dunayem by Semen Hulak-Artemovsky (1863).

A key figure in the development of Ukrainian nationalist music during the 19th century was the composer, conductor and pianist Mykola Lysenko,[3] whose compositions include nine operas, and music for piano. He used Ukrainian poetry, including that of the poet Taras Shevchenko. In 1904, Lysenko opened the Russian empire's first Ukrainian music school in Kiev (now the Lysenko State Music and Drama Institute [uk]). He is credited with establishing a classical music tradition that was a blend of folk music and classical music forms.[3]

In the period of the Liberation War numerous Ukrainian artistic groups were created. The Government of the Ukrainian State has taken a consistent position in the field of cultural development, including music, as evidenced by the Resolution of the Council of Ministers on the mobilization of literary, scientific, artistic and technical forces of Ukraine. In particular, by the decree of Pavel Skoropadsky in 1918, the State Symphony Orchestra of Ukraine, the Ukrainian State Chapel, the First and Second National Choirs were established. The Kyiv opera was named the Ukrainian Drama and Opera Theater, and a significant number of world-famous operas have been translated into Ukrainian. Also in 1918, the Kobzar Choir was founded, which would later be revived as the State Bandura Chapel.

The arrival of Soviet authorities in Ukraine was marked by a number of tragic events. In 1921, Leontovych was killed by an agent of the Cheka, and in 1928 the society in his memory were banned. Ukrainian art suffered the worst losses in the 1930s, during which the Soviet authorities exterminated several hundred bandura players, kobzars, and lyre players, and in 1938, musician and ethnographer Hnat Khotkevych was shot among other artists of the "shot revival."

At the same time, the Soviet authorities opened a number of music institutions in various cities of Ukraine. In particular, these are opera and ballet theaters in Kharkiv (1925), Poltava (1928), Vinnytsia (1929), Dnipropetrovsk (1931), Donetsk (1941), choral and symphonic groups were organized. According to the Resolution of the Central Committee of the Communist Party "On the Restructuring of Literary and Artistic Organizations" in 1932, The Union of Soviet Musicians of Ukraine (later - "Union of Composers") was organized and entrusted with the functions of ideological control over compositions by Ukrainian composers.

The 1960s are marked by the breakthrough of the Ukrainian school of composition on the world stage, the mastery of the latest trends in European musical culture. A group of Kyiv Avant-Garde artists is being formed in Kyiv, which includes composers such as Valentyn Silvestrov, Leonid Grabovsky, Vitaliy Godziatsky, and Volodymyr Guba. The central figure in this group was the conductor Igor Blazhkov. As a result of differences with the retrograde tendencies of the official musical circles of the USSR, the members of the "Kyiv avant-garde" were subjected to various kinds of oppression. 006ab0faaa