The specifics of national identitification in Ukrainian academic music: from Mykola Lysenko to the modern time
DOI:
https://doi.org/10.31318/2522-4190.2024.141.319192Keywords:
Ukrainian academic music, modern Ukrainian music, national, national identity, national identification, ethnodifferentiating and ethnointegration tendency, genre, Ukrainian intonationAbstract
The relevance of the study. The problem of national identity is one of the fundamental issues in liberal arts of the 20th and early 21st century. An important area of research therefore is national identification of Ukrainian academic music. Despite the obvious need to develop research in this sphere, a reliable terminology has not yet been developed in musicology, genre-intonation factors of national identification have not been systematized, the specifics of the national identification of academic music of Ukraine at different stages of evolution, especially in the modern segment, have not been revealed. The study of these issues reveals the relevance of the article.
The main objective of the study is to identify the specifics of national identification of Ukrainian academic music in an evolutionary aspect.
The methodology includes the following methods of research: historical-chronological — to study the socio-cultural processes that characterize the period of development of Ukrainian professional music from the 19th to the beginning of the 21st century; typological — to divide this development into three stages; comparative — when comparing factors of national identification in different periods of the evolution of Ukrainian music; intonational, hermeneutical-semantic — to reveal the specifics of the musical works considered.
Results and conclusions. The scheme of national identification of Ukrainian academic music in the evolutionary process is revealed. Conditionally, emphasizing the nonlinear nature of periodization, three stages of its development are highlighted: 1) classical, the so–called Lysenkо is a stage of cultural self-awareness and the establishment of a national idea; 2) the period of development of Ukrainian music in the USSR — with abrupt changes, polar in trends (from socialist realism to the avant-garde), dramatic and even repressive; 3) the renaissance of Ukrainian music in the era of Independence — unique and culminating in terms of innovations and globalistic manifestations.
Among the major factors of the national identity of Ukrainian professional music, immanently musical (genre-intonational, stylistic, dramaturgic) and non-musical indicators (contextual, socio-cultural, verbal-meaningful - such as language, conscious civic position of composers, cordocentrism) were identified. The specifics of national identity at different stages of the evolution of professional music in the context of ethnodifferentiating and ethnointegrating trends are shown. The fact of a balanced correlation of these trends with the gradual strengthening of the integration strategy at the present stage is revealed. The indicators of this process are considered: adaptation of multiethnic/multinational intonation, work with folklore genres in the aspect of synthesis and expansion of the primary genre-semantic paradigm, globalization trends. The analytical argumentation of theoretical positions is carried out while considering as an example of works by Ukrainian composers with the priority of modern content. These are "Ukrainian Requiem" by A. Kozarenko, "Tears" by V. Silvestrov, "Kaddish Requiem" and "Memorial Service for the victims of the Holodomor" by E. Stankovich, "Lullabies of the Reed" by I. Alexiychuk, "Сarрe diem" by O. Bezborodko, "NORD/OUEST" by A. Zagaikevich, "There and once, here and now" I. Taranenko, "Stratum" by A. Merkhel. The variety of approaches of Ukrainian composers to solving the problem of national identification is demonstrated.
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