Anotacija. Senųjų fonografo vaško volelių su ukrainiečių tradicinės muzikos įrašais kolekcijos -unikalus šios šalies kultūros paveldo paminklas ir mokslinių tyrimų šaltinis. Tokiais Lvovo (Vakarų Ukraina) folkloro archyvuose saugomais senaisiais voleliais domisi ir juos daugelį metų tyrinėja šio straipsnio autorė etnomuzikologė Iryna Serhijivna Dovhaliuk (Ірина Сергiïвна Довгалюк). Lvove saugomos trys tokios kolekcijos su 1900-1940 m. garso įrašais. Tai Osypo Rozdolskio (Осип Роздольський) 755 volelių kolekcija, saugoma Lvovo Vasyliaus Stefanyko (Василь Стефаник) nacionalinės mokslinės bibliotekos archyvuose, akademiko Filareto Kolesos (Філарет Колесса) asmeninės kolekcijos 59 voleliai bei 65 kitų įrašinėtojų voleliai, sugomi Etnologijos instituto folkloro archyve. Straipsnyje išsamiai aprašytas ir išanalizuotas šių kolekcijų turinys (žanrinė sudėtis), jų autoriai, istorija (vieta, data), garso įrašymo metodinės nuostatos. Nurodoma ir techninė šių volelių būklė bei galimybės naudotis šiais šaltiniais mokslo tyrimams (kopijos magnetinėse juostose, skaitmeninės laikmenos). Pagrindiniai žodžiai: fonogramų archyvas, tradicinės muzikos garso įrašai, ukrainiečių folkloras, Osyp Rozdolskij, Filaret Kolesa, fonografo volelių skaitmeninimas. Abstract.Collections of wax cylinders with records of folk music belong to Ukraine's unique scholarly and cultural heritage are investigated by Ukrainian ethnomusicologist and historian Iryna Dovhalyuk (Ірина Сергiïвна Довгалюк). Three of these collections, which were recorded between 1900 and 1940, are kept in the archives in Lviv. In particular, these are Osyp Rozdolskyi's collection (755 cylinders), which is stored in Lviv National Vasyl Stefanyk Scientific Library of Ukraine, Philareth Kolessa's private collection of wax cylinders (59 cylinders) and the collection of phonograms kept in the archives at the Ethnology Institute (65 cylinders). The given paper describes and analyzes these collections, i.e. determines their formation, the date, the author and the place of recording, typology of genres of the recorded items, and major methods of recording. The author also concentrates on the condition these collections are in now and whether there are copies of the given records on tape and digital media.
The restoration of Ukraine’s independence in 1991 created favorable conditions for the powerful development of domestic ethnomusicology. Ukrainian musical folklore research has a long tradition, but for a hundred years the research has been conducted in difficult historical and political realities. This did not contribute to the proper development of folk music research, especially in the Soviet period. The period 1991–2021 is quite interesting, although difficult and ambiguous. The revival of Ukrainian ethnomusicology began in the early 1990s. Unfortunately, not all initiatives have been continued. Many initiatives had to be stopped due to financial difficulties, political circumstances, lack of sufficient specialists and so on. This article was inspired by the need to summarize everything that has been done in Ukrainian musical folklore over the past 30 years, to consider the achievements of Ukrainian ethnomusicology in 1991–2021. Previously, there was no general research on this topic, because various Ukrainian scientists have written about certain aspects of ethnomusicological work and about different time periods in the history of musical folkloristics of the period of independence. The research will be published in two parts: in this issue of the yearbook the main Ukrainian ethnomusicological centers will be presented, the state of domestic ethno-pedagogy will be discussed, documentation (field and archival) of folk music will be considered. The next issue will analyze the scientific, publishing, conference, promotional activities of Ukrainian researchers of folk music. Kyiv and Lviv have been the main Ukrainian centers for the study of folk music since the early twentieth century. The same is true today: the basic Ukrainian ethnomusical centers are the Rylsky Institute of Art Studies, Folklore and Ethnology (IAFE) of the National Academy of Sciences of Ukraine, the Tchaikovsky National Academy of Music of Ukraine and the Lysenko Lviv National Academy of Music. Research Scientific Laboratory of Music Ethnology and Departments of musical folklore were opened in both Academies in the early 1990s. Well-known scientists, doctors of science and PhD, and their junior colleagues work in these centers. Publishing activity is developing: encyclopedias, monographs, folklore collections, collections of articles, periodicals are published. Kyiv and Lviv higher music institutions publish the only in Ukraine purely ethnomusicological yearbooks of scientific articles and materials – «Problems of music ethnology» and «Ethnomusic». Regional ethnomusicological centers operate in many cities of Ukraine – Kharkiv, Odessa, Dnipro, Sumy, Rivne, Uzhgorod, etc. During the period of Independence, ethnomusicological education was actively developing. The two main areas are the education of ethnomusicologists-theorists and ethnomusicologists-practitioners, leaders of folklore ensembles. The first ones are prepared mainly by Kyiv and Lviv Music academies, where various specialized disciplines are taught. The second is taught in higher educational institutions of Kyiv, Kharkiv, Rivne, Sumy. An important area of activity of almost all Ukrainian ethnomusicological centers in the period of Independence was the documentation of folk music: the collection of musical folklore, transcription and archiving. Folk music was most actively collected in the early 1990s, but over time this work has slowed down, in part because authentic tradition is dying out and living in the passive memory of performers. Today the largest archives of folk music are in IAFE and Kyiv and Lviv Music academies. Archival collections are actively digitized, some materials can be found on the Internet – both on special sites-archives of folk music, and YouTube channels, which usually refer to the different ethnomusical centers. The main prospect of Ukrainian archivists engaged in musical folklore is the creation of the Central Electronic Archive of Ukrainian Folklore
I r y n a D o v h a l y u k) Львовский национальный университет имени Ивана Франко, Украина Anotacija. Ukrainos muzikinės etnografijos mokslininkai buvo vieni pirmųjų Europoje, kurie pradėjo naudoti tuo metu neseniai išrasto fonografo įrašus tradicinėms liaudies melodijoms fiksuoti. Jie taip pat buvo gretose pirmųjų asmenų, kūrusių ir praktiniame darbe pritaikiusių darbo su fonografu metodus. Vienas žymiausių šios srities pionierių buvo folkloristas, kompozitorius ir vienas iš Ukrainos etnomuzikologijos mokslo pradininkų Filaretas Kolesa (1871-1947). Būsimasis akademikas savo etnomuzikologinės praktikos metu laikėsi metodologinių nuostatų, kurias jau buvo sukūręs jo pirmtakas Osipas Rozdolskis (1872-1945), taip pat pasiūlė keletą savų naujovių. Filareto Kolesos liaudies melodijų fonografinio įrašymo metodai neprarado aktualumo ir iki šių dienų. Pagrindiniai žodžiai: Filaretas Kolesa, ukrainiečių muzikinė folkloristika, liaudies melodijų fonografinio įrašymo metodai, muzikinės etnografijos istorija.
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