Scientific herald of Tchaikovsky National Music Academy of Ukraine

The specifics of national identitification in Ukrainian academic music: from Mykola Lysenko to the modern time

Olga Solomonova — Thu, 28 Nov 2024 00:00:00 +0200

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.

National «voices» of academic musical performance in a globalized world

Olha Katrych — Thu, 28 Nov 2024 00:00:00 +0200

The ontological parameters of the national identification of musical performance of the academic tradition are considered. In the course of modern processes of cultural globalization and musical-professional unification, nationally characteristic features of Ukrainian musical performance are highlighted. The stylistic features and archetypal characteristics inherent in the artistic thinking of Ukrainian musicians-performers, which form the national sound ideal, are outlined.

The relevance of the study is related to the uncertainty in modern music science of the ontological parameters of the national identification of the performing arts of the academic tradition. This, in turn, determines the main objective of the study - by outlining the constant stylistic parameters and archetypal features inherent in the artistic thinking of Ukrainian musicians, to determine the expressive resource of modern Ukrainian academic musical and performing arts in relation to the representation of national cultural identity in the globalized world.

Theoretical base. The methodological support of the proposed reasoning is provided by the works of: philosophy, sociology, and cultural studies by Mladen Dolar, Wolfgang Shluchter, Boris Johnson, Ivan Lysy, Dmytro Chyzhevskyi, Dmytro Dontsov, etc.; of musicology - Oleksandr Kozarenko, Nadia Suprun-Yaremko, Yakov Soroker, David Hezmondalsh, etc., as well as their own scientific positions, published in publications on the issues of music and performing arts.

The applied scientific methodology combines the methods of discourse analysis, empirical observations of the practice of performing activities, including data from one's own listening experience, musical comparativistics, and musicological generalizations.

The scientific novelty of the applied approach is determined by the justification of the feasibility of using it as a musicological and analytical toolkit for research and national identification of the phenomena of musical and performing art of the philosophical category of the voice and the musicological category of the national sound ideal as reflecting genetically related phenomena. The summary summarizes the results of the research and characterizes the practical value of the presented considerations, which consists in enriching the analytical apparatus of musical science for in-depth study of the processes of musical and performing creativity. The further prospects of the development of Ukrainian musical performance in the role of the "voice of Ukrainian culture" in the world are indicated.

The symbolic potential of sound ornaments in “Hutsul triptych” of Myroslav Skoryk

Boryslav Stronko — Thu, 28 Nov 2024 00:00:00 +0200

Relevance of the study is related to the problem of the ornaments’ symbolic significance and, especially, their equivalent in music. This problem was repeatedly studied in art sciences. However, it was researched in the context of the modern Ukrainian music not enough.

The main objective of the study is revealing a significance of ostinati in “Hutsul triptych” by outstanding Ukrainian composer Myroslav Skoryk. The methodology is based on methods of textual analysis in music and, especially, analogy method. How the study was done: was asserted significant parallel among visual ornaments in many cultural traditions and ostinati in music as their equivalent; both demonstrate potential endless of Life and its processes. Such symbolic is common to different cultures, even geographically distanced, as Ukrainian and Australian aboriginal one. The score of “Hutsul triptych” by M. Skoryk was analyzed mainly in aspect of formal and semantic significance of its ostinati: melodic ostinato in the first part, “Childhood”, prevalently texture ostinati in the second part, “Ivan and Marichka” and only dramatic attempt to return to ostinati in the third part, “The Death of Ivan”.

Findings and conclusions. “Hutsul triptych” is an evidence of powerful possibilities of ornament-like ostinati in music, including Ukrainian. This score includes not only main biographical moment of Ivan’s life, but also concerning permanent algorithms of national and, larger, all-human existence accordingly to certain folk tradition. In the first part of the "Hutsul Triptych", the melodic and thematic ostinati denotes the persistence of the child's involvement in Life, his assimilation of basic habits, observations of the surrounding world. In the second part, the multifaceted multifacetedness of ostinati embodies the very idea of Love as a harmonious combination, the interpenetration of multiple components of Life. The removal of the ornamental ostinato in the third part of the "Triptych" works as a "minus technique". The destruction of the pulsation of life processes becomes a symbol of death. Of course, figurations and ostinati are ancient and extremely common means of music. However, in the "Hutsul Triptych" they outgrow their formal and constructive meaning. So, significance of the study consists of revealing some important links between archaic and modern forms of culture (b) in discovering of principally original dramatic concept in music; step-by-step declining of Life’s patterns through the Death; (c) in idea of inclusion measured individual life in the potentially unmeasured and multiply returning in the space of art thinking. Among the Perspectives of this research is involvement an idea of replicators from Richard Dawkins’ “The Extended Phenotype” to the musical context

National intonation in the films of Sergei Parajanov

Olga Vardanyan — Thu, 28 Nov 2024 00:00:00 +0200

The significance of the study: Interest in Sergei Parajanov's creative legacy has not waned for several decades. His cinematic works and collages continue to inspire contemporary artists, including world-class pop stars such as Madonna and Lady Gaga, 50 years on. Many books, articles and essays have been written about his films and himself in various languages, demonstrating the relevance of his chosen subject.

The main purpose of the study: to determine the role of background and, more specifically, musical means in creating the unique national tone of Parajanov's films, to identify the mechanisms of its implementation, the specifics of the director's work with composers who wrote music for his films, and to highlight the ways in which they solved their creative task.

Methodology: The research methodology includes the conceptual framework of V. Moskalenko's theory of musical interpretation, in particular the concept of intonation as '...a nonconceptual physical and characteristic system of communication that expresses (in audio, visual or tactile forms) the situational emotional and psychological state of an individual'. The work also used general scientific research methods, including analysis, comparison, classification, inferring patterns and generalisation.

Results and conclusions. Based on the analysis of two of S. Parajanov's most famous films, the article concludes that the director's special approach to the embodiment of national intonation in his films asserts the intonation of the word, whose main function in his films is expression, not definition. What is important in a word is not so much its meaning as its intonation, i.e. how it is pronounced, how it sounds. A defining aspect of Parajanov's films is the polyphony of his scores, which synthesise elements of folk music, professional compositions, natural sounds and speech intonations to create a powerful expressive effect. This approach allowed the director to achieve a profound universality, making his works understandable on a cross-cultural level while emphasising national identity. The sound intonation in his films is inseparable from the visual, verbal and symbolic components, creating a holistic visual system. The national intonation in his films is expressed on the background as well as on the visual (frame), verbal (speech), mimetic (pantomime, gesture, dance) and sign (symbolic) levels. The verbal component simultaneously combines the phonic component, as the word is sung or recited in a certain way. In this way, the artist achieves the greatest expressive effect by concentrating the various means of expression.

Composer’s interpretation of Guo Wenjing of Chinese traditional opera «Si Fan»

Daria Hnatiuk — Thu, 28 Nov 2024 00:00:00 +0200

Relevance of the study. Chinese traditional opera is one of the important treasures of the world musical culture. Now there are about 360 regional varieties of this opera in China, which indicates the active continuation of its public life. At the current stage, Chinese traditional musical art became the focus of attention of many Chinese composers-representatives of “The New Wave”. In their creativity, there is a revival of traditional Chinese music and, at the same time, saturation of traditional genres of modern methods of compositional writing. The subject of the consideration in the article is the composer’s interpretation of Chinese traditional opera “Si Fan”, which was made by Guo Wenjing in 2015. Creating arrangement, the composer aims to enrich the thesaurus of Western musician and listener with intonations of Sichuan traditional opera. Its access to the international level actualizes the research of peculiarities of modern interpretive versions of opera compositions of Sichuan traditional theatre.

The main objective of the study is to reveal the specifics of transformation of Sichuan traditional opera “Si Fan” in the composer's interpretation of Guo Wenjing.

Methodology. In the research of historical origin of the original source of the studied opera, the role of Sichuan traditional opera in modern musical life, the historical method of analysis is applied. In order to identify the specifics of the transformation of an opera of traditional origin in the modern composer's interpretation of Guo Wenjing, the comparative method of analysis was used.

Results and conclusions. The historical origin of the original source of the studied opera is traced. The specifics of changes in the semantic load in operas of the traditional theater are revealed in a historical section, using the example of the opera “Si Fan”. The importance of mutual exchange of musical experience between European and Chinese cultures as the important means of actualizing Chinese traditional theater for modern society is highlighted. The specifics of the transformation of the Sichuan traditional opera “Si Fan” in the composer's interpretive version by Guo Wenjing have been researched. It can be traced in the orientation to the maximum preservation of the natural, authentic sound of gaoqiang chants, which would at the same time become accessible to the modern foreign audience. For this purpose, the following means are used: 1. distinct genre features of Chinese traditional theater are preserved; 2. the acoustic sound of instrumentation is not opposed, but acts as a supplement to the sound standard of traditional Chinese music; 3. the ensemble interaction of the traditional composition of gaoqiang performers is not disrupted with the introduction of an academic instrumental ensemble; 4. five-line and hieroglyphic notation is combined. In Guo Wenjing's arrangement, we observe the genre expansion of traditional opera, according to which the composer leaves the basis of the traditional Sichuan opera, but enriches its expressive possibilities, bringing it closer to the perception of the European listener. According to the results of the analyses of the performance version of the opera “Si Fan” of 2015, the peculiarities of live communication of the performers are summarized, in which the central and leading role of the soloist is emphasized. A conclusion is made regarding the stabilizing influence of musical notation, the presence of an auxiliary instrumental ensemble and a conductor on the architectural construction of the opera.

The search of new resources to diversify the musical and expressive language of the traditional heritage of Chinese culture is characteristic of the work of many modern composers, which certainly provides prospects for further analytical investigations and awaits further scientific coverage.

Concerto for domra and orchestra No. 3 by Valery Ivko: vectors of intonational development and genre features

Alina Prokopenko — Thu, 28 Nov 2024 00:00:00 +0200

The relevance of the study consists in highlighting a kind of synthesis of general features of the concert genre and individual features of V. Ivko's compositional style in Сoncerto No. 3 for domra and orchestra.

Main objective of the study is to characterize Concerto No. 3 for Domra and Orchestra by V. Ivko, with emphasis on the vectors of intonational development and the embodiment of the genre's characteristic features.

The methodology includes methods of historical and biographical (to clarify the circumstances of the Concerto's composition), as well as structural-functional, genre, and intonationaldramaturgical methods (for a comprehensive analysis of the work).

Results and conclusions. A detailed analysis of the Concerto No. 3 for Domra and Orchestra by the outstanding Ukrainian performer, educator and composer Valery Ivko has been conducted. This piece summarizes the composer’s long-term work in the concerto genre while showcasing meticulous intonational-thematic development, characteristic of his overall creative method. The principle of continuous intonational development in the concerto is traced at two levels: working with microelements — motifs or even intervals on which these motifs are based — and the repetition or variation of more elaborate structures — musical themes or their relatively complete fragments. The specific features of the compositional organization of the concert cycle and each of its parts have been examined in detail. The relationship between the solo domra part and the orchestra part has been analyzed, highlighting the aspiration for their equality in dramaturgical unfolding.

Attention is drawn to the extreme virtuosity of the solo domra part, which requires exceptional technical preparation from the soloist and makes mastery of the technique of intonated virtuosity — a method introduced by V. Ivko in the educational process — almost a prerequisite for adequate performance. The concerto embodies the principle of play, represented by a mosaic structure and realized through the combination of intonational-thematic elements. It is concluded that Concerto No. 3 is the final homage of the outstanding musician to his beloved instrument, revealing the rich potential of the domra while also reflecting virtuosity as the essence of the Master’s life and creativity

Embodiment as a manifestation of national intonation in modern Ukrainian popular vocal art

Mariia Stokolias — Thu, 28 Nov 2024 00:00:00 +0200

Relevance of study. The phenomenon of embodiment is considered as a mean of identifying national identity and a way to avoid standardization of performance in modern Ukrainian pop (modern) singing. The concept of "intonation" in modern vocal art is interpreted not only as the actual purity of sound, intonation, but also as a fundamental cultural phenomenon, the core of musical performance skill, which is based on a bodily determinant. The important role of bodily intonation in the formation of the performer's cultural national identity is substantiated. The main aspects of the metamorphosis of body intonation in modern singing, the transformation of the body image of the Ukrainian pop singer from the times of the USSR to the present are highlighted. The positive and negative aspects of globalization and Americanization are analysed. In particular, the consequences and influence of the integration of world vocal techniques on the understanding of the national dominant are investigated. The necessity of adapting world vocal techniques to the body of the Ukrainian national vocal pop tradition is substantiated. The importance of further development of modern Ukrainian vocal techniques based on national materials is proven. The practical aspects of applying knowledge about embodied intonation in the professional activity of a modern Ukrainian singer are analysed. Works presented by several groups of sources considered as the theoretical base of the considerations in accordance with the problems and tasks of the research: philosophical works, works on musical art, interpretology, ethnosociology. The research methodology combines the methods of musicological generalizations, musical comparativistics, methods of analysis and synthesis, and the method of performing self-reflection. The main objective of the study is to investigate the phenomenon of body intonation in modern pop performance through the prism of national and global perspectives; to prove that embodied intonation is an extremely important component of the performer's pop musical intonation, which carries a national authority. The scientific novelty of the presented considerations is that in Ukrainian musicology, the issue of national body intonation in the context of the globalization of popular music culture is investigated for the first time. The conclusion summarizes the results of the research, points out the perspective of the musicological examination of embodied intonality as a way of preserving national identity in a competitive Ukrainian modern singing art.

Guitar music by Heitor Villa-Lobos: genre traditions of Brazilian choro

Tetiana Filatova — Thu, 28 Nov 2024 00:00:00 +0200

The relevance of the article is to consider Brazilian guitar music as an important component of the modern South American repertoire. On the example of choros of famous composer Heitor Villa-Lobos connections with the folklore traditions of the country, Afro-Brazilian, AfroCuban primary and derivative patterns of the genre have been revealed.

The main objective of the study is to discover in H. Villa-Lobos's guitar music metrorhythmic and intonation-melodic archetypes of the Brazilian choro genre as an essential component of the southeastern regions of the country. The novelty of the article consists in the introduction to the Ukrainian musicological circulation of the genre-style analysis of the guitar works of H. VillaLobos, which, thanks to the names, are defined by the author as representatives of the specifics of this genre phenomenon.

The methodology is based on an interdisciplinary approach and methods of historical, cultural, musicological, systemic, structural, and functional analysis, applied to the study of the genesis of the choro rhythmic archetype, primary ethnic sources, intonation-melodic manifestations and stylistic interactions in the composer's music.

Results and conclusions. Choro is considered as one of the main heraldic genres of Brazilian musical culture, spread to a large extent in the southeastern regions of Rio de Janeiro and São Paulo. Among the local folk traditions of music-making in the middle of the 20th century choro (ancient wailing) and samba belong to the hybrid field of genres of Afro-Brazilian roots. The genesis of choro is connected with the local folklore of street musicians (choroens), as well as with tropical soundscapes and noise signals of the "polyphony of the city". Choro is characterized as a genre model, an instrumental composition of performers, singing, dancing and a figurative state of suffering. Linguistic and genre features of choro are revealed in the example of guitar works from the "Popular Brazilian Suite" by Heitor Villa-Lobos and his solo guitar composition from the largescale cycle of the same name "Chôros" for various ensembles of performers. Connections of choro with mazurka, ecossaise (scottish), waltz, gavotte are determined. The means of creating sound effects of ensemble playing thanks to the idiomatic resources of the solo guitar are considered. In the process of analytical research, a schematic generalization of the rhythmic choro archetype is proposed. The basic and derivative patterns of the archetype create a system of variant means of alternating rhythmic formulas that generalize the features of Afro-Cuban, Afro-Brazilian habanera, African lundu and batuk, European and Brazilian polka. The modernist means of choro representation are characterized thanks to the comparison of the guitar version with the language findings of the following parts of the grandiose cycle "Chôros": the use of Indian ritual-tribal folklore elements, techniques of sound imitation, stylistic allusions, a modern language arsenal, which together with the further development of the fundamental technique of playing the guitar with movements of the same positions along the guitar neck formed their individual and stylistic platform of musical thinking.

Embodiment of Ukrainian folk elements in Valerii Ivko’s «Shchedrivka»

Anastasiia Diakova — Thu, 28 Nov 2024 00:00:00 +0200

The relevance of the study is determined by the need for an in-depth analysis of the features of Valerii Ivko's performance style, in particular in the context of the folklore fairway of his works. Main objective of the study is highlight folklore motifs in the original domra composition, reveal their archaic origins and enrich ideas about Valerii Ivko's compositional style. The methodology includes method of structure analysis to identify the main stylistic Valerii Ivko’s techniques and method of comparative analysis is used to study the connection between the archaic and the modern musical embodiment, as well as in the study of folklore elements of the work and the influence of the ancient environment on the human worldview.

Results and conclusions. The historical and geographical context of the formation of the genre of charity was established, thereby clarifying the cultural basis of Valerii Ivko's creative idea. "Schedrivka" for domra and piano is a bright and virtuosic work that faithfully reflects the author's musical style. The composer successfully combined several types of techniques of working with folklore material, including citation, variation of the musical text, and author's reworking with features of polyphony. The following features of the approach to the composer's interpretation of the genre of generosity were noted: enrichment of the theme with achievements of classical means of composition, such as modern methods of harmony, texture; shading of the main theme thanks to the tonal plan, the sound of different modes and intonation complexes, and with the help of various textural presentation and skillful manipulation of the piece’s form, the author managed to transform the musical theme and saturate it with new experiences; on the basis of a generous piece, an elaborate pantype composition with an active dramaturgy, which has signs of a three-part structure, was masterfully created. The archaic theme of generosity, which was taken as a basis, was able to go from a monodic presentation to a colorful large-scale embodiment, from chamber sound to orchestral. Thanks to the means of polyphony, harmony, and orchestration, the composer managed to modernize the ancient genre of schedrivka while preserving elements of the symbolism of the ancient slavs: bourdon as a connection with the surrounding environment and as a way of spiritual communication with God; the variable tonal sounding of the two main themes only in the major represents revival and new life; the embodiment of the main theme in different octaves corresponds to various elements. Embodying Ukrainian folklore elements, Valerii Ivko successfully combined original ancient melodies with the help of his author's style.

«Les Sauvages» by J.-P. Rameau: a marketing ploy or an exercise in musical characterization?

Yurii Sukhlenko — Thu, 28 Nov 2024 00:00:00 +0200

The relevance of the study is to search for new perspectives on the phenomenon of programmability and characterization in the works of French harpsichord composers of the first third of the eighteenth century on the basis of one of the most popular miniatures by J.-P. Rameau «The Savages». In the research, the choice of the title is analyzed in connection with the principles of involvement of musical idioms of the time in the musical text to reproduce the exotic image, defined by the verbal program. The applied complex methodological approach allows us to find out the peculiarities of the reaction of Parisian salon musicians to the representatives of the nonEuropean «other» culture, which was presented by the delegation of North American Indians who visited Paris in 1725. The colorful images of «savages» could not go unnoticed by composers and music publishers, who, by titling musical works that evoked associations with exotic portraits of foreigners, increased the demand for their own musical products. Should we look for signs of crosscultural intersections only in the headline «inventions» or have recent impressions left their mark on musical texts? If so, to what extent did the existing «good taste» allow the composer and performer to authentically «copy» the exotic original? The search for answers to these questions is the main plot of this article.

Main objective is to outline the specifics of the embodiment of the image of «savages» in music by prominent masters of European art, to comprehend the marketing prerequisites for creating a harpsichord piece in the context of this theme and the means of musical characterization of Indians proposed by J.-P. Rameau. The methodology consists of a comprehensive methodological approach that includes historical and contextual, biographical, comparative, genre and stylistic, and performance analysis methods.

Results and conclusions. An overview of J.-P. Rameau’s compositional experience in reflecting Indians in music allows us to clearly separate the musical miniature «Les Sauvages» from other works of Indian music by his predecessors and contemporaries — it is the experience of direct acquaintance and the intention to «characterize» the exotic object of observation through the means of musical art. In «Les Sauvages», as in an early attempt at musical «characterization, » the composer did not try to literally imitate the original music of the native Americans. He used the musical vocabulary of his time, but, at the same time, he went beyond it, applying an emphatically extravagant, «savage» style of writing, undoubtedly brilliantly conveying the temperament of the performers of Indian dance on the stage of the Italian Theater in September 1725.

The history of the formation of folk choirs, vocal and choreographic ensembles in the 1940s and 1950s: Ukrainian and Polish context

Yuliya Zlochevska — Thu, 28 Nov 2024 00:00:00 +0200

The relevance of the study. In the 40s and 50s of the twentieth century, cultural policy in both Ukraine and Poland was characterised by the growing pressure of the Soviet government on culture, the spread of utilitarianism and a propagandistic understanding of art. Exactly at such moments of crisis, society begins to look for a common ground on which each of its members could rely, something that could unite people, remind them of values as the basis of the existential selfdetermination of the individual and the nation. Returning to one's own roots through the activities of ensembles is one of these paths. This was one of the reasons for the development of choral art as an aspect of state strategy at that time. In addition, this method allowed the government to levelling the identity of the various nationalities that were part of the USSR. The formation of choral music was determined by state support for cultural projects. However, it should be pointed out that the activities of these collectives played an important role in the formation of the national choral school.

The main objective of the study is to determine how the process of formation of folk choirs as well as vocal and choreographic ensembles took place in the 1940s and 1950s and to present a comparative analysis of the activities of two ensembles: Grigoriy Veryovka Ukrainian National Honoured Academic Folk Choir and The Stanisław Hadyna Song and Dance Ensemble «Śląsk», which will allow us to consider the problem from two perspectives: Ukrainian and Polish.

The methodology includes a critical analysis of literary and historical sources, the method of the history of ideas (to trace the idea of creating academised folk melody-based ensembles that belonged to the official art in the period of the 1940s and 1950s in two different countries), the comparative method (to identify common and distinctive artistic and aesthetic principles of the ensembles‘ activities), and the complex method (to study the problem of the formation of professional folk ensembles in the mid-twentieth century in a holistic way).

Results and conclusions. In conclusion, it can be stated that in both Ukraine and Poland, music of the twentieth century developed under the conditions of Soviet ideological pressure. Accordingly, the functioning of the ensembles was integrally connected with the historical, political, social, and cultural circumstances and realities of that time, which influenced not only the repertoire policy, intensive concert activity, but also the artistic style created.Therefore, in the Ukrainian concept, more emphasis was placed directly on the academic nature of singing and author's arrangements of folk songs. It is worth emphasising that the activities of the Ukrainian National Honoured Academic Folk Choir under the direction of Grygoriy Verevka as an academic official art form are a significant contribution to the development of professional folk choral performance, as well as to the professionalisation of choral education and the establishment of a national choral school, despite the presence of ideological elements in the repertoire. On the other hand, in Poland, and especially in Cieshyn Silesia, the ensemble was initially based on traditional culture - one of the key positions in the development of the Polish ensemble was the collection and presentation of various types of Polish folk songs and dances. At the same time, there was a process of attracting ideas of alternative spirituality, searching and creating new ideas, original artistic formulas that had not previously been present in the work of other Polish ensembles, and as a result, a new cultural perspective based on tradition but open to large-scale changes was created.

The prospects for further research on this issue include the detailed study of the creative heritage of the founders of ensembles, the detection and analysis of all periods of the ensembles' activity with a focus on the present, and the identification of changes in the consciousness of national identity that occurred in the context of the history of the formation of these ensembles.