Репозитарій Національної академії керівних кадрів культури і мистецтв України

Мирослав Антонович: інтелектуальна біографія. Еміграційне музикознавство в українському культуротворенні повоєнних десятиліть

Мирослав Антонович: інтелектуальна біографія. Еміграційне музикознавство в українському культуротворенні повоєнних десятиліть

Граб, Уляна Богданівна
URI: http://elib.nakkkim.edu.ua/handle/123456789/2418
Дата: 2019

Короткий опис(реферат):

Монографія є першим дослідженням інтелектуальної біографії центральної постаті українського музичного світу повоєнної еміграції - українського музикознавця та диригента Мирослава Антоновича (1917-2006). Особливу увагу зосереджено на культуротворчій діяльності еміграційного музикознавства повоєнних десятиліть (50-80 рр.) та її кореляції з напрямками наукових досліджень материкової музичної науки. Наукова праця М. Антоновича та його диригентська діяльність з Візантійським хором з Утрехта склали особливий вимір еміграційного культуротворення повоєнних десятиліть. Вони свідчать про розуміння власної національної традиції як частини європейської культури, про набуття «європейської ідентичності» як усвідомленого і прийнятого міжкультурного співіснування за умови збереження власної самобутності. Книга написана за матеріалами архіву М. Антоновича, особисто переданого на зберігання в Інститут церковної музики Українського католицького університету (Львів).

Суть розробки, основні результати:

Musicologists’ attention to such particular “suprenational” formation asthe Ukrainian emigration, including the musical one, is not accidental. A great multilevel layer of Ukrainian musical culture appeared in the emigrational environment, which through its activity often compensated the lack of research trends in the post-war Soviet Ukraine. By reason of circumstances, an organic part of Ukrainian ethnic group found itself in an alien world having survived war, transit camps, fear of repatriation and adaptation in the new mental, cultural and social conditions. These people were in the state of a continuous psychological transition from the past, which remained in their memory, to the present, where they should have found their place and “restored” themselves anew. Being locked up in their artificially formed and language-separated space, they acutely experienced a sense of nostalgia for the past that became sacralized. Psychological dimension of loss was the most complicated to survive and building “own Ukraine” in various aspects became a differential characteristic of emigrational culture-forming activities. Traditionalism became the paradigm of musical thinking of the post-war musical society and, eventually, of the entire scientific and culture-artistic emigrational environment that protected itself from cultural endosmosis endeavoring to keep national identity. Negation, separation from everything that was considered “Alien”, ressentiment (according to F. Nietzsche) as the product of weakness, hopelessness and disappointment, a sense of hostility and resentment, was mostly formed with regard to the “Other”. Many found it impossible to acquire new and positive identities through language, percieve new values and beliefs. The matter concerns emigrational musicology during the most complicated and disputable period of its activities - the transit camps years during the Second World War; the first post-war decades of resettlement to the countries of permanent residence; the Cold War years, Khrushchev thaw and ideological cleansing in the 70-ies in the mainland Ukraine; by the end of the 80-ies when party ideologists control slowly sunk into oblivion and that which was condemned as “nationalism” has become the official ideology of the independent Ukrainian state. In his scientific work, Myroslaw Antonowycz continued medieval studies trend of musicological research that was terminated in Ukraine after the Second World War due to the political and ideological motives. Owing to the 35 western historiography and studying the available printed and manuscript sources, he suggested a new concept of the origin of Ukrainian liturgical music rooted deeply in its original source - the Byzantine musical history. A research paper on the unknown part-songs works of the Cossack era that was completed and published in the 1970-ies is in advance of similar research in Ukraine and makes the first steps towards understanding of musical stylistics of this music. The reference to the history of liturgical signing and its problematics in the modern liturgical practice maintained this topic in the active informative field and reminded of the issues of liturgical and musical education and the necessity for its reformation. During the years of “radianizatsia” in Ukraine, the topic was excluded from the practical field and musicological discourse and its development continued in musicological work in emigration. All scientific works of Antonowycz are the evidence of understanding of the own national tradition as a part of European culture, acquiring the “European identity” as intercultural coexistence recognized and accepted by him given that his own identity is maintained. His figure is “multifaceted” - for European musicology, actually “Josquin studies”, works of M. Antonowycz were the basis for further research and evaluation of creative works of Josquin Des Prez. Full edition of Josquin Des Prez’s works completed under his editorship is an important heritage of European musicological science of the time, its methods, methodology, possession of the source study base and modern editorship practice, etc. even today. His scientific heritage is important not only due to the enrichment of Ukrainian foundation of musico-logical thought, but also to a European one, and activity of the established Byzantine Choir from Utrecht is directed in the opposite direction - towards a foreign listener and, most importantly, towards a foreign performer. During the postwar decades, when liturgical signing was banned and a centuries-old tradition faded, the Byzantine Choir triumphed in the largest concert halls of Europe and America maintaining Ukrainian traditions in the cultural heritage of the West by Dutch singers. Interest to Ukrainian identity in different aspects - liturgical, folklore, classical and therefore in historical, scientific, cultural and traditional ones, was the main achievement of Myroslaw Antonowycz in European musicological continuum.

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