Festivals of spiritual songs in socio-cultural space of Ukraine of the end of the XX - the beginning of the XXI centuries

Abstract

The purpose of the article is to study the activities of festivals of spiritual songs in the context of the development of the musical culture of Ukraine in the late twentieth – early twentieth century. The methodology is based on historical and culturological approaches. A systematic method is also used to characterize festivals of the Orthodox music tradition in their connection with other components of culture; socio-cultural method – in the study of socio-cultural components of the artistic phenomenon of the festival. The scientific novelty of the work is that for the first time the activity of festivals of Orthodox sacred music as a new phenomenon in the musical culture of Ukraine is comprehensively analyzed. Conclusions. The emergence and active functioning of festivals of spiritual songs is one of the leading trends in the development of Orthodox musical culture in Ukraine. The ideological direction of the festivals is primarily of religious content, and, in addition to overcoming the negative trends in the field of culture, their leading function is the revival of orthodox traditions. Festivals of sacred music in Ukraine currently perform two main functions: educational and cultural. They contribute to the revival of the traditions of orthodox musical culture; demonstrate the traditions of orthodoxy in modern socio-cultural conditions; revive centuries-old traditions of spiritual choral singing of Ukraine; revive centuries-old traditions of spiritual choral singing of Ukraine.

Сучасне Музичне Мистецтво Як Духовна Цінність Християнської Молоді України: Релігієзнавчо-Філософський Аналіз

“…Питання християнської духовної музики у сьогоднішньому музичному просторі України розглядаються в працях сучасних музичних теоретиків та практиків М. Антоненко [1]; А. Ареф'євої [2]; О. Афоніної [3]; Я. Бардашевської [4]; Д. Болгарського [5]; І. Гофман [6]; О. Зосім [7]; М. Камінської [8]; А. Ткаченко [11]; С. Шип [12] та ін.…”