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Music of Ukraine | ||||
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Nationalistic and patriotic songs | ||||
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Ukrainian folk music includes a number of varieties of traditional, folkloric, folk-inspired popular music, and folk-inspired European classical music traditions.
In the 20th century numerous ethnographic and folkloric musical ensembles were established in Ukraine and gained popularity.
During the Soviet era, music was a controlled commodity and was used as a tool for the indoctrination of the population. As a result, the repertoire of Ukrainian folk music performers and ensembles was controlled and restricted.
Ukrainians, particularly in Eastern Ukraine have fostered a peculiar style of singing – The White voice (Ukrainian : Білий голос). This type of singing primarily exploits the chest register and is akin to controlled yelling or shouting. [1] The vocal range is restrictive and in a lower tessitura. In recent times vocal courses have been established to study this particular form of singing. Among the most popular exponents of traditional Ukrainian folk singing in the modern era are Nina Matviyenko and Raisa Kyrychenko.
Ensemble singing in three and occasionally four-part harmony was one of the features of traditional village music in Ukraine. The multi-part singing used in Central Ukraine was thought to have been unique at the turn of the 19th century. Numerous folk choirs were established (Okhmatinsky choir) and studies were published on the style of choral singing.
It was supported in the Soviet period in opposition to church music, as village song was viewed by the authorities as being more proletarian.
In recent times (post-1980s) there is a movement toward authentic ensemble singing particularly in eastern Ukraine with the establishment of various ensembles and festivals there focusing on this style of music. Notable groups who perform in this tradition are Dyke Pole and Bozhychi.
The first such ensemble in Ukraine was the Okhmatynsky Village Folk Choir organized by Dr Mykola Demutsky in 1889. Ethnographic ensembles became popular in the 20th century. These were usually choirs often with orchestral accompaniment and sometimes a group of dancers. They originally performed works based on the ethnic folk music of the area, however over the past 40 years they have become more academic regarding their performance style and material.
The most prominent professional groups are:
Regional groups include:
Characteristics of these choirs were the use of chest register singing (particularly in Eastern Ukraine) and the use of Ukrainian folk instruments in the accompanying orchestras.
In the 20th century, popular operatic singers like Modest Mencinsky and Solomea Krushelnycki included Ukrainian folk songs in their concert performances. Other prominent Ukrainian singers including Ivan Kozlovsky, Borys Hmyria, Anatoliy Solovianenko have also propagated the singing of Ukrainian folk songs and romances. In the United States Kvitka Cisyk also promoted art songs.
Choral singing has a rich tradition in Ukraine. While the Catholic West developed sophisticated vocal instrumental works, the Orthodox church frowned on the use of musical instruments in sacred music and a cappella choral music was the only genre that was actively supported.
In the 20th century notable Ukrainian a cappella choirs have included the Ukrainian National Choir, Dumka (choir), Kyiv frescoes and Boyan which is the touring choir of the L. Revutsky Capella of Ukraine.
Notable choral conductors include Olexander Koshetz, Wolodymyr Kolesnyk, Nestor Horodovenko, Dmytro Kotko.
In Ukraine there existed a class of professional musicians who sang to their own instrumental accompaniment. These professional musicians were often known as kobzari or lirnyky. This category also includes players of the torban and bandura. The repertoire of these itinerant musicians differed considerably from that sung by the folk including the performance of dumy (sung epic poems).
In the 20th century the vocal-instrumental tradition has grown into a movement where ensembles and whole choirs sing to their own accompaniment on these instruments. Notable examples include the Ukrainian Bandurist Chorus, The Canadian Bandurist Capella and the Kyiv Bandurist Capella.
Ukrainians have a wealth of folk instruments and a well-developed tradition of instrumental music. This is particularly because the Soviet government strongly discouraged the population away from religious music and encouraged "proletarian" forms of musical performance.
The bulk of the ethnic Ukrainian population lived in a village setting and did not share the urban culture of the city-based elite that controlled the country. As a result, traditional village music was encouraged and fostered.
The first significant scholarship dealing with authentic Ukrainian folk instrumental music traditions is ascribed to the Ukrainian composer Mykola Lysenko and his publications starting in 1874 was dealing with the bandura and other Ukrainian folk instruments.
Further scholarship was undertaken in the early 20th century by ethnomusicologists Filaret Kolessa and Klyment Kvitka. Publications in the new science of organology were undertaken by Hnat Khotkevych with his 1930 monograph "Musical instruments of the Ukrainian people". It was banned by the Soviet authorities in 1934 because it studied the phenomena of folk instruments from a national perspective.
After WWII scholarship was continued by Andriy Humeniuk who began the trend of mixing Soviet innovations in instrument construction and training with authentic instrumental music. This tendency was avoided by Sofia Hrytsa but became a feature of the publications of Victor Hutsal, Victor Mishalow and the bulk of Soviet and post-Soviet scholarship.
In recent times this trend has taken an about-face with the publications by the ethnomusicologist Mykhailo Khai of the early 21st century which has clearly separated Ukrainian instrumental music into so-called authentic and so-called fakeloric instrumental music traditions.
Significant contributions to the study of Ukrainian organology and performance have been done by both Russian and Polish ethnomusicologists such as Alexander Famintsyn and Stanislaw Mzrekowski.
Ukrainian folk music has had a significant influence on the music of neighbouring peoples. Many Ukrainian melodies have become popular in Poland, Slovakia, Austria, Russia, Romania and Moldova. Through the interaction with the Eastern European Jewish community, Ukrainian folk songs such as "Oi ne khody Hrytsiu" composed by singer Marusia Churai have been introduced into North American culture as "Yes my darling daughter" (sung by Dinah Shore).
The traditional music of the kobzari inspired the Dumky composed by various Slavic composers such as Tchaikovsky, Mussorgsky and Dvořák.
The use of folk melodies is especially encouraged in ballet and opera. Among the Ukrainian composers who often included Ukrainian folk themes in their music were Lysenko, Lev Revutsky, Mykola Dremliuha, Yevhen Stankovych, Aleksandr Shymko, Myroslav Skoryk (who adapted e.g. the folk song Verbovaya Doschechka).
In the late 1960s and early 1970s Ukrainian folk songs and folk song elements began to be included in pop and rock music in the rock-oriented Kobza ensemble, Smerichka, Opryshky Medikus and many other ensembles. This was driven by the lack of Ukrainian pop songs of the time. In time the genre of folk-inspired pop music became significant, particularly inspired by the popularity of the Belarusian group known as Pesniary.
Of the Ukrainian groups, the longest surviving and most significant was the group known as Kobza.
"Where Have All the Flowers Gone?" is a folk song of the 1960s written by Pete Seeger and Joe Hickerson. Seeger found inspiration for the song while on his way to a concert. Leafing through his notebook he saw the passage, "Where are the flowers, the girls have plucked them. Where are the girls, they've all taken husbands. Where are the men, they're all in the army." These lines were from a Ukrainian and Cossack folk song referenced in a novel by Mikhail Sholokhov, And Quiet Flows the Don . Seeger adapted it to a tune, a lumberjack version of "Drill, Ye Tarriers, Drill". With only three verses, he recorded it once in a medley on a Rainbow Quest album and forgot about it. Hickerson later added verses four and five.
"Summertime" is an aria composed by George Gershwin for the 1935 opera Porgy and Bess . The lyrics are by DuBose Heyward, the author of the novel Porgy on which the opera was based. It has since become a jazz standard. While it is primarily a spiritual in the style of the African American folk music of late nineteenth century, [2] [3] the Ukrainian-Canadian composer and singer Alexis Kochan has suggested that some part of Gershwin's inspiration may have come from having heard the Ukrainian lullaby, Oi Khodyt Son Kolo Vikon (A Dream Passes By The Windows) at a New York City performance by Oleksander Koshetz's Ukrainian National Chorus in 1929 (or 1926). [4]
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.
Georgia has rich and still vibrant traditional music, primarily known for arguably the earliest polyphonic tradition of the Christian world. Situated on the border of Europe and Asia, Georgia is also the home of a variety of urban singing styles with a mixture of native polyphony, Middle Eastern monophony and late European harmonic languages. Georgian performers are well represented in the world's leading opera troupes and concert stages.
A bandura is a Ukrainian plucked-string folk-instrument. It combines elements of the zither and lute and, up until the 1940s, was also often called a kobza. Early instruments had 5 to 12 strings and resembled lutes. In the 20th century, the number of strings increased initially to 31 strings (1926), then to 56 strings – 68 strings on modern "concert" instruments (1954).
The kobza, also called bandura is a Ukrainian folk music instrument of the lute family, a relative of the Central European mandora. The term kobza however, has also been applied to a number of other Eastern European instruments distinct from the Ukrainian kobza.
Russian folk music specifically deals with the folk music traditions of the ethnic Russian people. Russian Russian folk music is used as the basic foundation for the creation of all Russian professional music.
A kobzar was an itinerant Ukrainian bard who sang to his own accompaniment, played on a multistringed kobza or bandura.
A bandurist is a person who plays the Ruthenian plucked string instrument known as the bandura.
The lirnyks were itinerant Ukrainian musicians who performed religious, historical and epic songs to the accompaniment of a lira, the Ukrainian version of the hurdy-gurdy.
Hnat Martynovych Khotkevych was a Ukrainian theater and public figure, engineer, inventor, writer, historian, translator, ethnographer, art critic, playwright, screenwriter, composer, musicologist, violinist, pianist, baritone, bandurist, and teacher. He was shot by the KGB, like many other members of the Executed Renaissance, during Joseph Stalin's Great Terror in the Soviet Union.
Kobzarskyi Tsekh, literally "Kobzar guild", is an organization of kobzars, which have existed since the 17th century in Ukraine.
The Kyiv Bandurist Capella is a male vocal-instrumental ensemble that accompanies its singing with the playing of the multi-stringed Ukrainian folk instrument known as the bandura.
Leonid Hryhorovych Haydamaka was a Ukrainian bandurist. has left his impression on the development of bandura art in the 20th century.
Kobzarstvo in the wider definition, is the art and related culture of singing to the accompaniment of the Ukrainian plucked string instruments bandura and kobza, as well as the Ukrainian hurdy-gurdy, which is called lira.
The Ukrainian Bandurist Chorus is a semi-professional male choir which accompanies itself with the multi-stringed Ukrainian ethnic instrument known as the bandura. It traces its roots to Ukraine in 1918 and has been based in the USA since 1949.
Peter Deriashnyj is a Ukrainian Australian bandurist, composer of secular and sacred music, and choral conductor. He specializes in the Kharkiv style of bandura playing, but also plays folk and rock guitar.
A Kuban bandurist is a person who plays the Ukrainian plucked string instrument known as the bandura, who is from Kuban, a geographic region of southern Russia surrounding the Kuban River.
The Hnat Khotkevych Ukrainian Bandurist Ensemble is a vocal and instrumental Ukrainian folkloric performing ensemble in Sydney, Australia. It was founded in June 1964 by bandurist Hryhory Bazhul and since May 1971 was directed by Peter Deriashnyj.
Yuriy Fedynsky is a Ukrainian-American composer, musician, singer-songwriter, producer, bandleader, luthier, cultural activist, and pedagogue. Fedynsky performs on kobza, torban, and traditional bandura.
Julia Gomelskaya was a Ukrainian composer of contemporary classical music.
Kobza is a vocal and instrumental ensemble of Ukraine from the 1970s and 1980s. VIA "Kobza" was the first of the bands of the former Soviet Union to go on a commercial tour on the American continent (1982). The original band leader was Oleksandr Zuev. One of the songwriters and current bandleader is Yevhen Kovalenko.