Article Vol. 22, No. 1, 2022

The Kobzars’ art as a unique phenomenon of Ukrainian national musical culture

Vasyl Romanchyshyn
Received 16.05.2022 Revised 04.08.2022 Accepted 26.08.2022 Pages 96–101 554 Views

Abstract

Purpose of Research. The purpose of the research is to characterise the nature of the Kobzar phenomenon as an organic component of Ukrainian national musical culture. Research Methodology. The research methodology is based on the systemic approach in the study of the highlighted issues and a set of the following methods: comparative, cultural, historical, analytical ones. Scientific Novelty. The scientific novelty consists in an attempt of the complex analysis, which include the determination of the essence of the Kobzars phenomenon, and the investigation its main features and peculiarities and the generalisation of the understanding of the Kobzar culture as a national high spiritual creative potential of the folk-cultural reality as a kind of stage in the development of national folk creativity in the paradigm of the Ukrainian musical tradition. Conclusions. The author has defined Kobzar art as a unique phenomenon of national Ukrainian music and song culture. The uniqueness and originality of the Kobzar phenomenon is in the fact of the existence and spreading of the Kobzar culture in the following areas as a folk and everyday environment, i the worldview essence of the singer’s personality, the high demands on his spiritual and moral world, musical skills, abilities, self-improvement, the understanding of their purposes and the performance of their duties and missions, the selection of the repertoire. Kobzar art is an indicator of the high civilizational development of folk traditions, musical culture and the Ukrainian people as a whole

Show full abstract

Keywords

Suggested citation

Copy citation
Romanchyshyn, V. (2022). The Kobzars’ art as a unique phenomenon of Ukrainian national musical culture. Notes on Art Criticism, 22(1), 96-101. https://doi.org/10.32461/2226-2180.41.2022.262982

References

Show all references

[1] Hnatyuk, V. (1896). Lyres, lyre songs, prayers, words, etc. from the Buchatsky district. Ethnographic collection of the Taras Shevchenko Scientific Society, 2, 1-9.

[2] Zheplynskyi, B. (2000). A brief history of kobzarstva in Ukraine. Publishing House Kay.

[3] Lozko, H. (1997). Volhvy. Svarog, 5, 12-18.

[4] Lozko, H. (2010). Ukrainian ethnology. Kharkiv.

[5] Kolessa, F. M. (1925). Overview of Ukrainian-Russian folk poetry. Lviv.

[6] Kolessa, F. M. (1927). Recitative forms in Ukrainian folk poetry. Original Сitizenship, 1-3, 60-13.

[7] Kolessa, F. M. (1921). Ukrainian people's dumas. Notes of NTSH, 130-131, 32-41.

[8] Boll, V. (1993). Moral authority and social role of blind bards in Ukraine. Rodovid, 6, 16-25.

[9] Pidgorbunski, M. (2003). Kobzari and bandurists in Ukraine. Kyivska Starovyna, 4, 170-176.

[10] Psherembskyi, Z.E. (1995). Korbova lira in Poland. Rodovid, 11, 43-55.

[11] Sichynskiy, V. (1992). Chuzhyntsi about Ukraine. Kyiv.

[12] Hotkevich, G. (2002). Musical instruments of the Ukrainian people. Kharkiv.

[13] Cherkaski, L.M. (2003). Ukrainian folk musical instruments. Kyiv.