Репозитарій Національної академії керівних кадрів культури і мистецтв України

Витоки і становлення професійної сопілкової культури в просторі українського інструменталізму

Витоки і становлення професійної сопілкової культури в просторі українського інструменталізму

Корчинська-Яскевич, Божена Мирославівна
URI: http://elib.nakkkim.edu.ua/handle/123456789/2386
Дата: 2017

Короткий опис(реферат):

Дисертацію присвячено вивченню історії становлення академічного виконавства на хроматичній сопілці конструкції Дмитра Демінчука в контексті формування Львівської академічної школи сопілкового вико17 навства. У дисертації вперше співставлено традиційну і професійну культури виконавства на сопілках в Україні і створено новий ракурс погляду на інструменти як елементи динамічної культури, що не завершили свою еволюцію, натомість криють в собі чимало ресурсів для створення нових зразків та експериментів. Дисертація є першим історичним дослідженням сопілкового виконавства, яке охоплює усі історичні цикли існування інструмента і висвітлює найрізноманітніші аспекти його багатовимірного функціонування, представляючи сопілкову культуру як цілісний історичний процес.

Суть розробки, основні результати:

In the thesis it is analyzed a culture of Ukrainian chromatic recorder as a unique historical phenomenon. It is regarded historical continuity of the culture of Ukrainian chromatic panpipe as a dynamic and multidimensional phenomenon, firmly rooted in the folk music traditions of the past and simultaneously integrated into the present in the musical practices of different levels. The dissertation examines the history of formation of professional performance on the Ukrainian chromatic panpipe of Dmytro Deminchuk’s construction in the context of formation of Lviv academic school of the Ukrainian chromatic panpipe performance. Historical and genetic beginnings of the school go back to the ancient instrumental practice. It was formed under the influence of cult and ritual, communication and recreation functions of music in the shepherds’ culture of the Ukrainian Carpathians. It demonstrates the transmission of national cultural tradition. Lviv academic school is a kind of fusion that combines features of ethnic-traditional and classical European instrumentalism. It also has absorbed the features of the art of the baroque recorder performance. It is paid much attention for the comparison of traditional and professional culture of playing of the Ukrainian chromatic panpipe. The author describes new perspectives for the instrument as an element of a dynamic modern musical culture, as a resource of creating new models and experiments. The dissertation is the first study of researching the performance on the Ukrainian chromatic recorder in connection with all historical cycles of existence of the instrument in different aspects of its multidimensional functions. This phenomenon is considered on the example of creativity of Lviv academic school of the Ukrainian chromatic recorder performance. In the thesis the activities of key figures in the formation and development of the professional academic culture of the Ukrainian chromatic panpipe are observed. Dmytro Deminchuk is the creator of a new national instrument – the chromatic panpipe, and Myroslav Korchynsky is the founder of the professional performing school. There are also analyzed repertoire trends, composing and performing creativity. It is defined the place of the Ukrainian chromatic panpipe in 19 contemporary music and culture. A synopsis of all researches about culture of Ukrainian chromatic panpipe is created.Traditions of making of the instrument are traced including changes in a design. A periodization of the existence of evolution of the Ukrainian chromatic panpipe culture is given (archaeological – ethnographic – academic, etc.). As the materials of the dissertation there were numerous audiorecordings, instruments, live performances, personal practical activity of the author. In the thesis the art of the chromatic recorder performance and the related other European cultures wind instruments performance are compared. There is shown in a new perspective the position of the recorder, Ukrainian chromatic recorder, birbine, csakan, flageolet and musette de cour in the professional musical culture. Ethno-wind instruments, numerous in their diversity, were included to the academic practice of higher school of music. Their development was connected with the music of written tradition. Ukrainian chromatic recorder as an instrument was developed at the junction of traditional and academic instrumentalism. It enriched the list of wind instruments and added by its sounding the sphere of timbre and articulation range of world instruments.

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