Нотна колекція отця Володимира Ганжука як зразок канону церковних піснеспівів богослужбової практики православної церкви в Україні

Регуліч, Ірина Вікторівна

Нотна колекція отця Володимира Ганжука як зразок канону церковних піснеспівів богослужбової практики православної церкви в Україні

Регуліч, Ірина Вікторівна

URI: http://elib.nakkkim.edu.ua/handle/123456789/2374

Дата: 2016

Короткий опис(реферат):

У дослідженні розглянуто унікальну нотну колекцію регента Луцького Свято-Троїцького кафедрального собору отця Володимира Ганжука як структурну модель канону церковних піснеспівів православної церкви в Україні. У процесі дослідження визначено шляхи формування, ареал побутування, елементи багаторівневої структури та мовно-стильовий код канону церковних піснеспівів православної церкви в Україні, його відношення до позаканонічного середовища, реалізацію функцій ідентифікації, комунікації та визначення межі. Стверджено, що канону церковних піснеспівів православної церкви в Україні властиво: поєднання ознак «канону знизу» і «канону зверху», при переважанні останнього; тяжіння до структурної замкнутості, за наявності елементів локально- динамічних і глобально-трансформаційних процесів; значне кількісне домінування російських піснеспівів як вияв російської культурної експансії в Україні і свідчення штучності цього канону в українському культурному просторі.

Суть розробки, основні результати:

In the dissertation research it was introduces the notion of canon of church hymns as a regulatory quantitative and structural model, which has distinct limits and relatively stable volume of information. Its’ following notions were characterized: list of church composers and creations, music and language standard (language-style). The first provides the consideration of canon as a certain body of hymns, recommended for use by the appropriate church institutions. The second is a certain language and style code, a specific musical and intonational quality. Research of the canon of church hymns of the Orthodox Church in Soviet- era Ukraine was made on the material of music collection of the Father Volodymyr Hanzhuk – the single document form the history of the Lutsk Holy Trinity Cathedral of that time (data on collection and its owner was introduced to the scientific use for the first time). We indicate that the music collection of the Father Volodymyr includes all genres of principal worship service of the Orthodox rite: Divine Liturgy of Saint John Chrysostom, evening, morning, memorial services, Episcopal services, Divine Liturgy of Saint Basil the Great, prayers, acathistos, choral concerts, carols and shchedrivkas, etc. The revealed fullness of all principal genres of the Orthodox worship became the ground for consideration of the music collection of the Father Volodymyr Hanzhuk as a structural model of the canon of church hymns of the Orthodox Church in Ukraine. Analysis of the collection’s funds confirmed that the range of existence of the canon of church hymns of the Orthodox Church is concentrated in the Central and Western regions of Ukraine, and the canon itself has a dynamic, transformational character with the opposition of norm-providing and norm- resisting tendencies and the property to change under the influence of Western European classic tradition, and also the certain attraction for the structural closeness, characteristic for it. In spite of the presence of Ukrainian composers (M. Berezovskyi, A. Vedel, D. Bortnianskyi, K. Stetsenko, O. Koshyts, M. Leontovych, S. Liudkevych, A. Richynskyi, M. Telezhynskyi etc.) in the author’s part of the collection, its predominant part is consisted of creations of Russian composers, which is the evidence of the fact that the canon under consideration in Ukraine carried the Russified character, it was artificially inculcated and belonged to the type of «canon from above». Alongside with that, the fact of creations predominance of composers of the Petersburg’s School, which has Ukrainian genesis, is determined by the activity of D. Bortnianskyi in the Court Orchestra, and the composers of Ukrainian origin: P.Turchaninov, H. Lomakin, H. Lvovskyi, Ie. Azieiev etc., indicates on its concealed Ukrainian content, and the ways of expansion, including through the personal contacts of priests, regents, members of clergy, indicate on the presence of attributes of «canon from below» in it. Upon analyzing the hymns of the collection, it was revealed the certain system of a repeated attributes and properties, which was determined as the language-style code of canon, with the help of which the process of its identification is taking place and which confirms its evolutionary character and synthetic quality. It was determined that the authors of hymns acted as the generator of information in the communication of the canon of church hymns, the choir performs the function of communication channel, the parishioners perform the function of recipient, and the character of communication process provides the expressive or paralinguistic types of reversed message. There were distinguished the principal mechanisms of communication process of the canon, which were generated by the verbal and musical texts of hymns: specific tune-tone, metro-rhythmic, dynamic and compositional parameters, with the help of which the influence on the psychological and emotional sphere of believers is performed. It was defined the limits of the canon of church hymns of the Orthodox Church: conventional demarcation lines, created by the specific, firm repetition of language-style elements, which separate the sainting from desainting and are important in the sense of canon’s extent finding out, in consequence of which the conclusion about its wide extent and historical- tolerant character was made. Generally, it was made a conclusion on that the canon of church hymns of the Orthodox Church in Ukraine the following is peculiar: combination of the attributes of «canon from below» and «canon from above» with prevailing of features of the latest; attraction to the structural closure, but at the same time the presence of the elements of local-dynamic and global-transformational processes; considerable qualitative domination of Russian hymns as a manifestation of Russian cultural expansion in Ukraine and the evidence of the artificiality of this canon in the Ukrainian cultural space.

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