PARALITURGICAL WORKS AS A SACRED-AESTHETIC ELEMENT OF UKRAINIAN MUSICAL CULTURE

The purpose of the section is to clarify the place of Ukrainian diaspora composers’ paraliturgical works of the XXth century and, in particular, the works of Mykhailo Hayvoronsky (1892–1949) in the spiritual musical culture of Ukrainians. Paraliturgical works include spiritual songs and chants performed outside the church’s Christian canonical rite. In the works of composers it is: a series of chants from Pochaiv’s «Bogohlasnyk», arrangements of koliadkas, songs of the Virgin and Resurrection, prayers to the King of Heaven, communions. Paraliturgical music of diaspora composers testifies to a strong connection with traditions: here we have the influence of «part-song», and the achievement of the «golden age» of Ukrainian music, and creative achievements in this genre of older contemporaries – M. Lysenko, M. Leontovych, K. Stetsenko. On the other hand, there is a close connection of this music with folklore sources, first of all, in the field of melody, texture, principles of musical material development. The sacral-aesthetic element of M. Hayvoronsky’s spiritual music is expressed by the figurative content of these works (bright, contemplative mood, sorrowful-focused prayer spirit, joyful exaltation, mood spirit), aesthetic categories (sublime, beauty, harmony, aesthetic ideal). Due to its genre and stylistic features, the paraliturgical music of diaspora composers became an integral part of the national school of composers development and contributed to the establishment of its identity.

PRESERVATION OF THE ICONOGRAPHIC CANON AMONG UKRAINIAN DIASPORA

Iconography of the Ukrainian diaspora is an important component of Ukrainian (Western Ukrainian) canonical sacred art. Genetically, the iconography of the Ukrainian diaspora is based on the principles of Byzantine iconography, which included the color canon, the compositional canon and the canon of proportions, which performed important functions in Byzantine art. Ukrainian artists of the diaspora, adhering to the Byzantine iconographic canon, believed that it brings to the art information of utilitarian, historical and narrative plan. Scientific intelligence is devoted to these issues. The purpose of the section is to analyze the preservation of the iconographic canon in the sacred art of artists of the Ukrainian diaspora in the United States, Canada and Western Europe. It is necessary to consider the Byzantine iconographic rules, which serve as an artistic scheme for the creation of Christological, Mariological and festive themes in the iconography presented in the temples of ethnic minorities. Using the principles of Byzantine aesthetics, the diaspora artists of Ukrainian origin (Petro Kholodny Jr, Sviatoslav Hordynsky, Juvenal Mokrytsky and Khrystyna Dokhvat) managed to preserve the ancient Eastern Christian tradition of cult painting. The art of the above-mentioned artists is based on strict artistic rules recognized by the official Church after the Trullian Council (691-692), the Seventh Ecumenical Council (787) and the «Triumph of Orthodoxy», associated with decisions to introduce the dogma of icon worship in Constantinople Council (843). Preservation of the iconographic canon in the Ukrainian diaspora is a manifestation of the ancient Christian artistic spirit, which determined the types of major saints. The principles of the iconographic canon used in the painting of the Ukrainian diaspora also substantiated the location of the main gospel scenes in certain places on the walls of Christian religious buildings.

UKRAINIAN MUSICAL FOLKLORE DISCOGRAPHY AS A PRESERVING FACTOR IN UKRAINIAN DIASPORA NATIONAL SPIRITUAL EXPERIENCE

The presented material studies one of the important forms of transmission of the musical folklore tradition of Ukrainians in the United States and Canada during the XX – the beginning of the XXI centuries – sound recording, which is a component of the national spiritual experience of emigrants. Founded in the 1920s, the recording industry has been actively developed and has become a form of preservation and promotion of the traditional musical culture of Ukrainians in North America. Sound recordings created an opportunity to determine the features of its main genres, the evolution of forms, that are typical for each historical period of Ukrainians’ sedimentation on the American continent, as well as to understand the specifics of the repertoire, instruments and styles of performance. Leading record companies in the United States have recorded authentic Ukrainian folklore reconstructed on their territory by rural musicians and choirs. Arranged folklore material is represented by choral and bandura recordings, to which are added a large number of records, cassettes, CDs of vocal-instrumental pop groups and soloists, where significantly and stylistically diversely recorded secondary Ukrainian folklore (folklorism).

THE EPISTOLARY SPIRITUAL DIMENSIONS OF THE UKRAINIAN DIASPORA ARTISTS

The purpose of the section is to outline the spiritual dimensions of the epistolary of the Ukrainian diaspora artists and, in particular, one of its leading representatives – Pavlo Matsenko (1897–1991), who with his various activities made a significant contribution to the development of Ukrainian musical culture. Pavlo Matsenko’s multi-vector activity covers a wide field of activity in various directions: teacher, conductor, musicologist, composer, organizer of the musical and cultural life of the Ukrainian community in exile, editor, publicist. From a wide range of its addressees (more than 200), correspondence with Metropolitan Hilarion (Ivan Ohienko), choral conductors Oleksandr Koshyts and Myroslav Antonovych, composer Stanislav Lyudkevych, and singer Yosyp Hoshuliak was chosen for analysis. These are close to Matsenko personalities in spirit, whose interests coincided with his own. The main area of interest in these letters is the study of Ukrainian church music, as well as choral performance, concert activities, work with bands. Another area of correspondence is a discussion of folk songs origin and its significance for church singing, as well as the peculiarities of performing folk songs. As a result of the study, taking into account the study of epistological materials as source material, three stages of the process are identified – contextual, attributive, actualization, as well as components of spiritual dimensions of Pavlo Matsenko’s epistolary: emotional-motivational, moral-ideological, cognitive-axiological, activity-creative. The rich epistolary heritage of the artist allows to better understand certain events of his life, to fill gaps in scientific research on communication with other artists and to characterize certain features of his personality. Letters are an integral aspect of source studies, on the basis of which the image of Pavlo Matsenko as a spiritual person is created.