ENSEMBLE IN THE BANDURA ART IN THE CENTER OF THE UKRAINIAN DIASPORA: CULTURAL-HISTORICAL ASPECTS OF DEVELOPMENT

Olha Kubik
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Abstract

The article analyzes the ensemble work of the diaspora bandura players. It is noted that ensemble music has its origins in the so called “kobzarism” in Ukraine. The development of bandura art in the diaspora of the twentieth century occurred differently. This is due to the chronological, spatial, geographical and cultural factors of the countries of the world where the bandura cells were located. The history of the appearance of Ukrainian bandura players on the territories of other continents is covered, and the emigration waves that became the impetus for the development of bandura art abroad are mentioned. The leading bandura ensembles of the diaspora were analyzed – the Taras Shevchenko Bandura Band (Detroit), the Canadian Bandura Band, the Gnat Khotkevych Bandura Ensemble (Toronto), and the Maiden Bandura Band. P. Orlyk (Detroit), ensemble “Haidamaki”, children’s choir “Golden Strings” and their cooperation with various groups both in the diaspora and in Ukraine. The article also describes the repertoire, tools and their modifications in connection with certain historical events. It is noted that the Ukrainian theme became the basis for the repertoire of the diaspora bandura players – Ukrainian folk songs, patriotic, Cossack, Duma, spiritual works, carols, works of Ukrainian composers, instrumental melodies and others. The names of famous bandura masters abroad are mentioned. Ensemble performance of non-mainland Ukraine is associated with the names of many artists, including Vasyl Yemets, Mykhailo Teliga, Hryhoriy Kytasty, Hryhoriy Nazarenko, Stepan Hanushevsky, Volodymyr Lutsyv, Viktor Mishalov, Olga Gerasimenko-Oliynyk and Yuriy Oliynyk. The article mentions the close cooperation of bandura ensembles and representatives of choral and vocal art. The concert life of famous bandura groups of the diaspora and their artistic achievements are described. It is also noted that the ensemble art of the diaspora is currently actively studied by scholars of the diaspora and Ukraine.
班杜拉艺术在乌克兰侨民中心的合奏:发展的文化历史方面
本文分析了流散班杜拉演奏者的合奏作品。值得注意的是,合奏音乐起源于乌克兰所谓的“kobzarism”。班杜拉艺术在二十世纪的流散中出现了不同的发展。这是由于班杜拉细胞所在的世界各国的时间、空间、地理和文化因素。介绍了乌克兰班杜拉演奏者在其他大陆出现的历史,并提到了成为班杜拉艺术在国外发展的动力的移民浪潮。我们分析了散居海外的主要班杜拉乐团——塔拉斯舍甫琴科班杜拉乐团(底特律)、加拿大班杜拉乐团、加拉特霍特科维奇班杜拉乐团(多伦多)和少女班杜拉乐团。P. Orlyk(底特律),合奏团“Haidamaki”,儿童合唱团“Golden Strings”以及他们与海外和乌克兰的各种团体的合作。文章还介绍了保留曲目、工具及其与某些历史事件有关的修改。值得注意的是,乌克兰主题成为散居的班杜拉演奏者保留曲目的基础-乌克兰民歌,爱国歌曲,哥萨克,杜马,精神作品,颂歌,乌克兰作曲家的作品,器乐旋律和其他。提到了国外著名班杜拉大师的名字。乌克兰境外的合奏演出与许多艺术家的名字有关,包括Vasyl Yemets, Mykhailo Teliga, Hryhoriy Kytasty, Hryhoriy Nazarenko, Stepan Hanushevsky, Volodymyr Lutsyv, Viktor Mishalov, Olga Gerasimenko-Oliynyk和Yuriy Oliynyk。文章提到班杜拉乐团与合唱和声乐艺术代表的密切合作。介绍了散居海外的著名班杜拉乐团的音乐会生活及其艺术成就。值得注意的是,散居侨民和乌克兰的学者目前正在积极研究散居侨民的合奏艺术。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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