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УКРАЇНСЬКА МУЗИКА

VASYL BARVISNKY— JUBILEE YEAR

Vasyl Basrvinsky (1888–1963)

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Liliya Nazar-Shevchuk PHENOMENON OF VASYL BARVINSKY (for 125th anniversary of his birth) The symbol of restoring the integrity of the nation's spiritual continuum , play a harmonious world view embodied in the art of Ukraine the first half of the twentieth century. with its enormous ups and tragic conflict is the revival of the historical memory of the forgotten and hushed names of giants Ukrainian culture, returning to take a worthy place and often conceived before God and men. One of them is unique in its originality Barvinsky Basil (1888-1963) - Patriarch of professional composers and p'yanistychnoyi school in Western Ukraine , a prominent composer p'yanist , teacher, musicologist , critic, cultural and social activist (33 years invariably led Lviv Higher Musical Institute. Lysenko ). Barvinsky - a graduate of the Prague Conservatory and later - doctor honoris causa of the University of Prague , a Chevalier of the "Golden Cross" - the highest awards of the Polish government. Directed to the music the way Mykola Lysenko , he had close professional contacts with such outstanding personalities as Vitezlav Novak, Josef Suk , Arthur Mikesh , Jacques Dalcroze , Bela Bartok, Karol Szymanowski, Sheptytsky Bogdan Lepky , Olexa Nowakowski , Alexander Kosice , Philip Kozytckyy, Viktor Kosenko, Lev Revutsky. In many aspects of its diverse activities Barvinsky was a pioneer of musical events not only national but also global level. He - the author 's first Ukrainian music fortep'yannyh Preludes (1908 ), the first in the twentieth century. Ukrainian fortep'yannoyi Sonata (1910), one of the first Cello Sonata ( 1926) , laying the foundations of national cello music, symphonic rhapsody (1911), first began work on the Ukrainian fortep'yannym Concert ( 1917-1937 ) , showing a great personality too small innovative almost every product. Significant is the composer's achievement in the field of new techniques of the twentieth century. : First used the system variable meters (" Prelude Dalcroze method ", 1915) almost forty years ahead of the well-known system variyabelnyh speed of Boris Blyahera , for the first time in Europe , along with Charles Ives and Henry Kouel , uses clusters and the game caught his fist (" frog waltz", 1910). As an artist -modernist, Barvinsky was one of the most brilliant composers of the first half of the twentieth century .. Organically zluchyvshy and his work in synthesizing the wealth and diversity of stylistic and artistic trends - impressionism and symbolism , art nouveau and expressionism, neoclassicism and neofolkloryzm composer , based on the national first-born , paves the way to the neo-romanticism of vitalistic tendencies of Ukrainian modernism, prozrevaya away any early events of the future.

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Covers of editions by Vasyl Barvinsky.

Barvinsky - the first Ukrainian composer , whose works have been recognized by the world and published in many magazines in Europe, USA and Japan (among them «Edition Reters », «Universal Edition», «Nakamura»). Name the composer included in European dictionaries , encyclopedias , lexicons . Music Barvinsky played at many of the world stage, in radio and television programs of its time (Vienna, Leipzig , Berlin, Stockholm , Buenos Aires, Turin , Prague, Warsaw , New York , Krakow et al. ). It is noteworthy the fact that one of the first TV shows in London at the dawn of television May 21, 1937 broadcast concert of works by Basil Nestor Nyzhankivskoho Barvinsky and performed by already known in the world p'yanistky Platanthera Kolessa who presented , in addition to everything else , and Ukrainian People wear to the English audience and viewers. Big fan creativity Barvinsky and interpreters were not only Ukrainian artists, but artists of different nations. For example , the renowned German organist Mihaela Grillo shifted a significant proportion of the composer's works for organ and recorded a disc of fortep'yannymy works , and in international competition carols for choir leader in Europe took "Heaven and Earth " in handling Barvinskyi choir in Munich radio «Motettenchor» ( 1998). Special acknowledgment page works Barvinsky is his " Lullaby ", which Alexander Kosice translated his legendary Republican chapel , called on different continents " fantastic chorus and orchestra ." Along with "Shchedryk" Mykola Leontovich "Lullaby" became Barvinsky bestsellyerom this world famous Ukrainian Chapel. Through melodic and harmonic value patterns, " " Lullaby " Barvinsky vrizuyetsya in our memories as the most osyahnene ever wonder man " - wrote the Brazilian newspaper «Correiro Paulistano» on September 17, 1923 This is the work of a child struck by George Gershwin, when he heard it on

4 УКРАЇНСЬКА МУЗИКА 2013/1(7) Koshytsevoyi choir concert in the U.S., and later became the impetus for the creation of a lullaby «Summer Times» the most famous American opera «Porgy and Bess». The phenomenon of fate artist who attained such a high rise , impressive. The national musical culture still has not understood all the diversity and importance of his work, and this is probably the reason. After the tragic Barvinsky passed the Cross with his people to a national Golgotha ten years Mordovia camps and terrible fact of vandalism - the burning regime almost all music manuscripts - have left us a legacy " without music composer " as bitterly described by himself after returning from link. And his disciples - p'yanisty Roman Sawicki, Darius Hordynsky Karanovych - and the world-famous performers Platanthera Kolessa , Galia Levytska, violinist Roman Prydatkevych , megastar opera stages Ira Malanyuk Mary Sokol , Eugene Zarytska , Modest Menzinsky , Michael Rock Starytsky John Kozlowski and others are not allowed to perish of Ukrainian composers . Default ban , an attempt to wipe out the name of Basil Barvinsky history of Ukrainian music, the tragic fate of artistic heritage , reviving the name and return to music composer symbolic because it was an integral element in the long genesis of flowering of spiritual elite of the nation, which itself is regenerated , refreshed and despite all tests come alive again. Reed Barvinskykh long served the cause of Ukrainian culture. An outstanding figure in the genealogy of the "brilliant pedigree " is one of the ancestors of the composer Martin Barvinsky (1784-1865) - the first Ukrainian - rector of the Lviv University , Vice- Chancellor and Vicar of the Catholic chapter in Lviv Knight Iron fort, whose name is found in lists initiators of Lviv one of the first professional music schools still include Barvinskykh 1838 - outstanding historians , writers , priests and doctors. Barvinsky Alexander (1847-1927) - the father of the composer - a prominent socio- cultural and socio- political figure of the nineteenth century. , One of the founders of the Scientific Society. Shevchenko, the Austrian ambassador to the Diet, the Minister of Education and creeds ZUNR , author of many books on history and literature, primers, readers published , ethnographer , materials which were published in Paris . His friends - Panteleimon Kulish , Michael Kotsyubynsky, Mykola Lysenko , Gnat Khotkevych Lesya Ukrainian , Clement Flower, Metropolitan Andriy Bohdan Lepky , Olexa Nowakowski . Inheriting and continuing giant amplitude national and spiritual rank father , Basil Barvinsky his musical gift takes over from his mother - Eugenia Lyubovych educated women p'yanistky (graduate Karol Mikula - longtime rector of the Lviv Conservatory, pupil of Chopin ), painter , poet , great promotorky Ukrainian songs dyryhentky many choirs (just under her trampoline chorus of Ternopil ' n Talk ' star Trek begins its glorious Salome Crushelnytska ). The first musical studies Barvinsky are under the direction of his mother, then falls into the class of the famous Czech teacher Vilyema Kurtz , who worked at that time in Lviv. Conclusive argument in choosing a career musician Lysenko was the idea that blessed Basil in Lviv musical journey. In his studies in Leipzig Lysenko repeatedly visited the house Barvinskykh . It was Alexander Barvinsky - father of the

2013/1(7) УКРАЇНСЬКА МУЗИКА 5 composer - ordered Lysenko write "Will" to celebrate Shevchenko days in Galicia, where and originates grand Shevchenkiana Lysenko - " Music for " Bard " ." At the time, Nicholas V. blessed in Tomashivtsi shining future of Polish Music - Karol Szymanowski . Later many common trends and innovations yednatymut these two Lysenko Music godchildren . Way Barvinsky goes to Prague, where the recommendations of smokers falls into the class of the famous Czech teacher , a student of Dvorak - Bitezlava Novak, in which he studies composition as p'yanist studying in class Leopold Hotfelda and attended lectures renowned musicologist Otakar Hostynskoho and Zdenek Neyedloho in Prague Charles University. Active as a concert p'yanist young , participating in many prestigious concerts Barvinsky unique among many participants fortep'yannoho given in Prague in 1908 was marked by a massive silver lyre , just picked one among Prague p'yanistiv for days , the Czech music in Holland. Often acts as akompanyator and ensemble accompanies Czech prima donna Elishtsi Destinoviy , and often performs in a duo with his classmate and close friend, cellist primary , soloist of the Vienna Volksoper'y Bogdan Bereznytska . This cooperation has continued through the years and has brought Ukrainian music worthy Cello repertoire - the first Ukrainian cello sonatas, suites , and in severe kontstabirni years - "Lyrical concert ." In Prague , while still a student, Barvinsky constantly promotes Ukrainian music, performing concerts in front of the Czechs in an embroidered shirt. Among his initiatives - organizing an evening of Ukrainian song (1914 ) by the famous chorus " Hlahol " under the direction of Jan Krzhichky which featured specially written to order the latest music and ethnographic picture " Ukrainian Wedding" Barvinsky. Constantly increasing its popularity as a composer. Back in the classroom , it creates Novak first Ukrainian preludes for piano that Kurt Wiener ( Salzburg eminent critic ) called " Regalia " - a valuable contribution fortep'yannoho world repertoire. Commissioned by Vice-Rector of the Prague Conservatory Dr. Brandenberhera Barvinsky wrote " Six treatments Ukrainian Folk Songs" for voice and piano for the first time in Ukrainian music uses perekomponovanu continuous batch piano . Brought worldwide fame to the composer and three-dimensional piano cycle "Love" and " Suite on Ukrainian folk themes ." Prague had written piano sonata (1910) , and two trios ( one of which is still not discovered ). Vigorous , versatile activity Barvinsky has many vectors. He was an active member ( akompanyatorom and dancer ) Prague Jacques Dalcroze group - the author of the popular in Europe, the new system plasticity and movement evrytmiyi . Interestingly, he volunteered to serve Dalcroze akompanyatorom in Prague tour group in London for choreographic abilities Barvinsky. Subsequently composer vzhyvlyatyme system evrytmiyi on national soil , creating special pieces for Galician dalkrozystiv based on Ukrainian folk tanks (" Koshychok ", " Kyvanyy ", " Snowstorm ") , working closely with the famous Swiss dancer, student of Dalcroze , Lyaleyu Fedakivnoyu - Dragomiretskaya The distance specifically invited summaries to the city and its successor Zaklynskoyu Oksana and Lena Suchowersky .

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2013/1(7) Barvinsky talent was highly appreciated by Czech musicians. Famous Czech theorist Ottokar Shin acknowledged inventor of the cluster and the game caught the fist thing Barvinsky , first take these innovations in the comic " Frog Waltz", which got to the championship competition composer of experimental works in Prague Philharmonic Podskalskiy . However Galician composer did not attach special significance Engineering , subjecting her profound ideas , using innovation rather discretely. The Prague period is another invention Barvinsky - variable speed, first used by the composer in " Prelude Dalcroze method ." This unique piece was lost in the fire , while the remaining details of the technique, and the phenomenon of progressive meters and rhythms occur in the processing of the folk song "out in the field mowers " finale fortep'yannoyi sonatas. So Barvinsky organically entered the pan-European process of updating and searching of modern musical language. On the other hand, in close contact with Ukrainian artists and cultural figures allow Barvinsky put in the core of national and cultural process. First of all - is dating and close relationship with the Czech Ukrainian diaspora - renowned chemist John Gorbachevsky, physicist John Pul'uj (his daughter Natalia Puliui composer poshlyubyt in 1915 , dedicating it to one of nayimpozantnishyh fortep'yannyh cycles "Love" ), philosopher Vyacheslav Lypynsky . His long-standing friendship with the great representative of the Ukrainian writer Bohdan Lepke proved at the level of artistic relationships as dominant features of both artists style is bright symvolistychni trends. It is the text of the first songs written Lepky composer - symvolistychni - expressionist vocal painting " Boredom ", " In the forest ." In return , a lot of lyrical poetry Lepky were inspired by the music still quite young composer , whose eminent poet, professor at the Jagiellonian University, has repeatedly invited into the study from Prague to Krakow to be inspired by his playing and compositions. It was at one of these performances , he became interested in music Lipinski for advice by Cyril Stecenko 1918 invites Barvinsky the Great Ukraine as the best performer fortep'yannyh works Lysenko. At the height of her popularity and fame of growing European Barvinsky at the request of his father and the music community of Galicia (after awarding the first prize in the competition of works by Ukrainian cantata "Will" in the words of Shevchenko) back to the city, where he heads the Higher Music Institute. Lysenko ( 1915) , holding that position for 33 years, generating a music professional life Galicia , turning the giant teaching career , which has worked in Prague. Laying the foundations of Galician Ukrainian p'yanizmu his disciples at different times were then known soloists performers Roman Sawicki Sr., Darius Hordynsky Karanovych , Darius Gerasimov Mary Crushelnytska Oleg Kryshtalsky Mary Kryh Uhlyar and composer Mykola Kolessa , Nestor Nyzhankivskyi , Z. Lys'ko (except Barvinsky taught piano and theory subjects) . High level performances pupils Barvinsky - " No Darok ": Gerasimov and Hordynsky in Warsaw in 1931 won the right to legitimacy Ukrainian school in Poland, as part of which was then Western Ukraine . And Darius Gerasimov was one of the favorites of the Competition. Chopin in 1932 for political reasons and not out in the final. From class Barvinsky came a galaxy of brilliant teachers: Alexander Protsyshyn , Vsevolod Klymko , Helen

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2013/1(7) УКРАЇНСЬКА МУЗИКА 7 Sozansky , Darius Lychkovska Halyna Klym , Irina Kryh Oksana ash Natalia Kashkadamova who developed his methodological principles p'yanistychnoyi school. Duumvirate Basil Barvinsky and Stanislaus Lyudkevych ( fruitful creative and chummy contacts are preserved for a lifetime , because in return have dedicated themselves huge numbers of journalistic , critical essays and research papers - and in return zastupalysya each other in difficult trials ) led to the introduction of unique at the time new educational system: the opening of branches of the Higher Music Institute. Lysenko in the larger cities of Galicia ( generally opened branches) , which in 1927 was centralized as the only educational body. Acute educational debate in the press Karol Szymanowski and his support music teaching Ukrainian reforms contributed to their approval by the Polish Ministry of Education and approved at the state level . Afterwards Lyudkevych writes that the music education system " is unikatom without precedent in the history of musical culture in Western Europe." Creative success and popularity of the composer further. When in 1936 Béla Bartók visited Lviv (after having studied Ukrainian language) , I was already familiar correspondence is with Barvinskya music was highly valued , as in Leipzig lexicon of modern European music Hermann - Taythmyullyera both composers are there, met their works and variety of musical editions. According accord famous Czech conductor and p'yanista Lion Siroty that Barvinsky fond of music , in 1924, one of the largest publishers of printed music in Europe Universal-Edition published collection of modern music, where in the company code, Foerster, Bartok, Rachmaninov, Cherepnin , Marx, Szymanowski and printed works Barvinsky and distribution of thousands of copies " Ukrainian thumbnails " of publishers are just four months! - The fact is extremely telling . Triumphant "miniature" blew honor of our friend in the whole world , even in the Japanese collection fortep'yannyh works near Wagner, Grieg, Debussy, Bizet, Schubert , Bartók , Busoni, Chopin and Scriabin umistyly Barvinsky. As chairman of the Union of Ukrainian professional music , created in 1936, almost leading the musical life of Galicia Barvinsky slogan "Music - Children" unfolds cycles " Radium avdytsiy " organizes many concerts and tirelessly working in critical and journalistic field. Since the first article of Shevchenko feast in his father's "Ruslan" (1905), Barvinsky authored more than 200 publications a variety of genres. Among them - the extensive analytical review of the collection Filaret Kolessa "Songs Holm and Podlasie ", one of the first Ukrainian historical musicological works " Overview of the history of Ukrainian music ", " Impressions of Life in Ukraine " - a chronicle of musical and cultural life in 1928 , at ' Negative reviews of concerts and numerous articles on Czech music Kosenko, Bartok, Hindemita , Lyudkevych , dear Kolessa, Mentsynsky and many others. During the 20 's and 40 's Barvinsky overloaded duties of the rector, still writing music. This series of brilliant vocal and choral works - Solo Singing and vocal poems to the texts of Taras Shevchenko, Ivan Franko , Lesya Ukrainian , Bogdan Lepkoho, Alexander Rodin, Gregory Chuprynky ; cantata "Our grief, our song " for text Spyridon Cherkasenko " Solemn cantata dedicated Sheptyts'kyi "in the words of Vladimir Maslyak ( orchestral party which has not yet found) , choruses to the words

8 УКРАЇНСЬКА МУЗИКА 2013/1(7) Lepky" Shevchenko's house "and" Oh, kolosysya , Niwa , " choral arrangements of folk songs , including such gems of choral art as reaped "Already the sun zakotylosya " and baptismal " we were ourselves in God's house ," carol " What is the Predyvo " ( solo game of the last of the great success performed for the first time after " forgetting " on tour in Canada with a collective chorus Ukrainian community celebrated Ivan Kozlovsky ) . There was also choral treatment of shooting songs for "Big Red Songbook Kalin ." Create an array of choral music meets not only the continuation of specific national traditions, but also the active conductor Barvinsky activity that is constantly conducted Galician choirs. No less intensively working in the area and composer of chamber and instrumental music , one of the most brilliant of his creations - sextet memory Lysenko was rebuilt after burning music composer from memory. To this genre also includes two quartets, one of which is "Youth " is firmly entrenched in the academic repertoire, and the other has not yet been found. Sonata for Cello dedicated Novak Cello " Ukrainian Suite" dedicated Kozitskogo variations for cello - these works Barvinsky essentially opens the National Cello repertoire , creating at the same time several compositions for violin (still unknown is the fate of violin sonatas ). Still a favorite tool of choice piano . Suddenly, the composer worldwide fame brought him a small, but elegant and " made perfect composition " ( Kurt Herman) fortep'yannyy cycle " Miniatures on Ukrainian folk themes ," published in many journals of Europe, arranged for different instruments and orchestral compositions , including and unique choral " orchestration " Kosice, which carried the "Lullaby" from different continents, bringing deserved fame Ukrainian culture , getting her universal acclaim. After winning the competition of contemporary music in America ( by processing two Lemko songs for voice , violin and piano " Flew BIM on the edge of the world " and " I will not go by Yasko " Barvinsky wins first prize and doubled the fee ), he receives an order for a work - representation Ukrainian music for connoisseurs of music another continent - Americans. So there is another series of exquisite miniatures fortep'yannyh " 38 arrangements of Ukrainian folk songs for piano ", published in the U.S. in 1928 . Unique in its uniqueness remains to this day and fortep'yannyy cycle " Carols and songs ." Highlight Ukrainian pedagogical repertoire became children fortep'yannyy cycle "Our sun plays on the piano ", published in six languages . Vertex creation composer can take it Fortep'yannyy concert , on which work has started Barvinsky 1917, finishing work dedication Shevchenko 20 years - 1937 grand instrumental and orchestral canvas was another discovery Barvinsky for Ukrainian culture - more than 30 times that work with great success all sounded Ukraine performed by Roman Savitsky under the trampoline Nicholas Kolessa. This show seemed hopelessly lost, was almost a miracle Rediscovered thirty years exactly on the day of the composer's death - June 6, 1993 in faraway Argentina and the efforts of his son p'yanista - Roman Savitsky Jr. returned to Ukraine , where Mary Crushelnytska again revived this work .

2013/1(7) УКРАЇНСЬКА МУЗИКА 9 Fruitful luchyly Barvinsky professional contacts with many leaders of Ukrainian culture, especially with artists of Great Ukraine , because among Galician musicians Barvinsky it is not the most supported and nurtured the idea of catholicity , thinking Ukrainian music as a single integrated process , constantly promoting creativity naddnipryantsiv in Galicia. The concert tour , which took place in 1928 with Bogdan Bereznytska composer brought a long-awaited meeting of Kyiv , Dnipro ( one of his sons , he even called Markiyan Dnepr ) , familiarity with Nicholas Hrinchenko Victor KOSENKO , Levko Revutska, Michael Verykivskym , Paul Ticino, Ostap Cherry, Yavornytsky , Alexander Beklyemishevym that , particularly in correspondence sincerely fond of music and Barvinsky prohav his notes. Later, at conventions Composers in Kiev 50 years of composer zapryyaznyvsya Liatoshynsky getting praised his work as Shostakovich and Khachaturian on because European and international acclaim put him in a bunch of prominent figures of Ukrainian culture. Fate of Vasily Barvinsky as the fate of his people, covered with thorns . After the German occupation , wait in difficult circumstances fascism (arrest, prosecution, daring activities in defense of Ukrainian music , because when the Germans eliminated all higher education institutions , it Barvinsky saved disbanded Conservatory, a music school in renaming the craft , taking on the job of teachers Conservatory hiding Nazis persecuted people and musical instruments) . Special efforts have applied it to the celebration of the 100th anniversary of the birthday of Mykola Lysenko. Helped composer and daughter Mariana Lysenko - p'yanisttsi , Director of Music and Drama Institute in Kyiv, which during the repression by invitation Barvinsky moved to the city. During this period drama about the composer writes music , expressing thereby protest the current regime. Lonely pieces are two finishing Lemko folk songs on zhovnirski topic. In 1944 he published in Ukrainian overhead Krakow chorus "Song of Bohohlasnyka " dedicated Sheptyts'kyi. Referring to the genre of folk and spiritual songs, composer defines them as a fundamental pillar of national zhyttyezberezhennya . High humanistic ideals, civic ethos and Christian religious dominance helped Barvinsky withstand terrible blows of fate. Selflessly working and advocating the idea of high professionalism in the new political regime - the Soviet regime - Barvinsky being a deputy, supports many teachers and students, defends the repressed fear takes children "enemies" to study at the conservatory. Honesty , integrity and truthfulness great composer could not cause a conflict with the new regime . 1948 Barvinsky his wife arrested and sentenced to 10 years imprisonment . Evidence of strong will power and spirit is invincible correspondence with the composer devoted students and friends (Alexander Protsyshyn - Piasecki , Lesia Derkach, Galina Hrabets , Alexandra Zaluzhniy , Stanislav Lyudkevych , Anatoly Kos -Anatol , the latter, in particular , actively sought the dismissal of the composer , and Lyudkevych is not only bravely defended Barvinsky in public court proceedings). In Potma Zubopovlyanskoho district of Mordovia in the nearby concentration camp sat his wife. Among fellow prisoners Barvinsky - Metropolitan Joseph Blind , happy about. Stephen Charnetskyi , US- Ukrainian poet Walter Kowalyk, artist Konazh - Konazhevskyy ( he owns a graphic portrait of the composer in 1955) and a

10 УКРАЇНСЬКА МУЗИКА 2013/1(7) close friend - composer Boris p'yanist Kudryk , who tragically died in a distant Mordovia. These inhuman conditions , composer , remaining above person is a musician . He gives music lessons wishing organizes amateur performances, which aranzhuye various works obvious that prisoners have been written for two choirs of Lesya Ukrainian word " Spring Again " and "Hope" , the specific composition of the orchestra and made out to " Ukrainian Rhapsody "for violin and orchestra . With thoughts about the fate of their children, scattered the war years , and especially the eldest son - John Sebestyana , named in honor of Bach - brilliant cellist , Pablo Casals who prophesied a great future, Barvinsky begins work on cello concert. " Evidence invincible spirit of Ukraine " called leading music critic BBC BBC Robert Sherman " Lyric Concerto" for cello after its premiere at the White House, the U.S. performed by American cellist Bryhitty Gunther and Daria Hordynsky - Karanovych (party piano ). It is worth mentioning that in the year of death of the beloved teacher p'yanistka had this phenomenal world concert tour , performing only works Barvinsky. It was 1963. Only 5 years after the link was destined to live a composer ( he was released in 1958 ). It is no coincidence Liatoshynsky Boris writes knowing about his death : "He suffered a lot ." Can not imagine a greater loss than the destruction of all manuscripts composer. Creepy fact burning music - that's the highest note of pain Barvinsky "I composer without music ! ". Recent years have been full of bitterness and regret : the desperate search of his own works , in the recovery of memory burned sextet in the creation of his swan song - fortep'yannoho quintet . Forgotten alive Barvinsky still secretly engaged with students, advising , and the only place where he could come to syvoholovyy music maestro was the school where he attended akademkontserty , sitting in a dark room skrayechku , listening to children's fingers plucked like : it's Bach , and it - Chopin. And before my eyes flew Prague and Krakow , London and Warsaw, Kyiv , Mordovia , Lviv. Triumphs and suffering, and there was applause and flowers that are so loved. Lyudkevych simply and frankly outlined the style of his music - " vinca ". In his declining years , actively lystuyuchys with family Lysenko ( reverence to coryphaeus Ukrainian music Barvinsky carried through all his life , taking care of children of Nicholas Vitalievitch in difficult war period , promoting his work , taking care of operas , including " Christmas Night" in Prague) , almost without material security , the hardships of seriously ill wife, finds Barvinsky money and forward it to the Council asking Lysenko buy flowers and put them on the graves Kozitskogo, Zankovetska , Lysenko. According to Bogdan Fils, granddaughter Lysenko believed that " this man can be seen as an icon, it is possible to pray."

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Василь Барвінський та Остап Лисенко. Остання світлина композитора. 30 грудня 1962 р.

All her life , and creative human posture Barvinsky presented as an example of a noble man, honest and brave , full of noble spirit , strong will power and courage. "Enemies" - Barvinsky wrote an open letter - the last in his life - to Alexander Korniichuk with the requirement to honor the Shevchenko Prize Lysenko ( posthumously ) and Lyudkevych for the " Caucasus ". If Barvinsky " God's justice borders on a miracle ," as expressed perennial scholar and composer spodvyzhnytsya Professor Stephanie Pavlyshyn . Notation sheets, like a stork flew everywhere: rescued from the fire, in archives perehovani famous artists from different countries and continents. Because his works were part of the repertoire of famous singers Modest Mentsynsky , Romance Lyubinetskoho , Paul Plischke , Joseph Hoshuliak , Ivan Kozlovsky, diva opera stages of the world 's largest Ira Malanyuk , Eugenia Zarytska , Mary Sokol . Music Barvinsky performed outstanding instrumentalists Ukrainian Platanthera Wheels , Roman Sawicki, Galia Levytska , George Beklyemishev , Eugene Perfets'koho , Darius Hordynsky , Bogdan Bereznytska , Severin Saprun Roman Prydatkevych Mary Crushelnytska Oleg Kryshtalsky. At various times, the works conducted by the composer Vasily Vytvytsky , S. Lyudkevych , Antin Rudnytsky , Vaclav Talih Nicholas Kolessa Isaac Pain , George Luciw. The music that was played in the first half of the twentieth century. too small or not in the world, stopped in his homeland almost half a century. Phenomenal is not only the very figure of the artist, is filled with many facets , versatile activity which was the epicenter of cultural processes Ukrainian music is phenomenal very fate of the composer and his works , which appeared as if the Burning Phoenix . And if the world - near and far - kept his name and cherished his music, but now the main weight and responsibility for their lives in front of us - modern Ukrainian artists who " are still in debt to this great

12 УКРАЇНСЬКА МУЗИКА 2013/1(7) and noble music ," in the words of prominent Ukrainian - American singer Theodore ter - Yuskiv . Gradually skresaye ice and published works ( though not all issued and small copies require new editions and reprints ), the composer active part in the scientific revolution (though Barvinsky inspired creativity and was in the field of research scientists in the Diaspora - Basil Vytvytsky , John Kovaliv , Roman Savytskoho jr . , in Ukraine it is the start of Stephanie Pavlyshyn Barvinsky pay much attention to domestic musicologist Yuriy Bulka , Love Kyyanovska Natalia Kashkadamova Oleg Smolyakov Vladimir Grabowski , Alexander Kozarenko protected thesis Galina Zhuk, Lily Nazar) , and most importantly - it sounds music composer. And on the big stage in the implementation p'yanistiv Mary Krushelnytskoyi Oleg Kryshtalsky , Jozsef Yerminya , Miroslav Dragan , Oksana Rapit , Jaromir Bozhenka , singers Dacko Natalia , Natalia Romaniuk, Olga Beekeeper , Valeria Buymistr, violin Lydia Futorska , Nazar Pylatyuk , Cello T. Mentsynsky , Galina Zhuk and performed by young musicians, actively entering the teaching repertoire. Conferences, open classes and exhibitions bearing the name of the composer's education Drohobycha , Ternopil, Ivano- Frankivsk. Nurtuyut hope that the time will return Basil Barvinsky to the city , as this magnificent artist , a man of high spiritual rank, one of the few who , in the words of Metropolitan Andrey Sheptitskogo, "universal and able to coordinate national " belonging worthy of respect and love for just put them in Barvinsky concept of music. For it is love is the greatest value that contains the music of Basil Barvinsky full of heart inspired lyrics, deep , dramatic emotional ups , heroic patriotic and highly spiritual . Based on the folk origins of that planetary system like holding multifaceted world of diverse artistic colors of the first half of the twentieth century. , It speaks to people's hearts deeply rooted mental archetypes , the meaning and significance are understood humanity. To paraphrase the title of the last part of the program cycle fortep'yannoho "Love" may describe the ethos of high artistic charisma that lies in the phenomenon of Basil Barvinsky : Хоч завжди буде БІЛЬ, І завжди буде БІЙ, Та завжди – ПЕРЕМОГА ЛЮБОВІ...

ARTICLES Natalia Kostyuk VASYL PETRUSHEVSKY AND LITURGICAL MUSIC IN UKRAINE AT LATE XIX – BEGUIN OF XX CENTURY Name of Vasyl Petrushevsky is little known broader scientific community. However, its activities aimed at the development of comprehension and Ukrainian liturgical and musical traditions in the last decade of the nineteenth - early twentieth century marked a significant achievement. Outlining the Kyiv Theological Academy, he conducted extensive public outreach activities, promoting the work of the church composers past and present komponuvav own compositions , which reproduced the features of the Church of Kyiv art of singing . This page of his heritage and the article. Keywords : Basil Petrushevsky , Ukrainian liturgical and musical traditions, church hymns , singing style arrangement.

Studying the characteristics of different phases of Ukrainian liturgical music in one way or another connected with the study of specialized music- critical and scientific thought. If reviews and reviews actively involved in the analysis of various processes in this area , the launch of a new liturgical music in Ukraine at the end of XIX century. to this day remains unexplored . There is no clear concept which takes into account at least the main lines of its aspects , remains unknown activity, except for a few personalities of its main representatives who not only formed the foundations and contributed to the development of fundamental aspects but also significantly influenced the liturgical - musical creativity . One of the most urgent tasks is to study of research in the field of liturgy in the Kiev Theological Academy. After all, this place was formed scientific school, represented by the works of Professor of the Department of Archaeology and church liturgy Dmytriyevskoho1 Alexei and his students - Nicholas Palmova2 , Prylutskoho3 Basil , Athanasius Neselovskoho4 , Michael Lysytsyn and in.5 results of these studies have played an important role in the practical sphere , especially in developing the principles of arrangement of various hymns half . A significant part of these arrangements (" transcriptions " n. " Perelozhenyy "), a significant layer which consists of works , reliance on tradition Lavra Kiev- half , was performed in line with or close to the so-called. "German" style of singing, or the latest stylistic trends. A good representative scholars and artists who worked in this direction was Vasily Petrushevsky - graduate and teacher kDa . Today is known primarily as the author of the famous report " O personality and church musical creativity AL Vedel " ( Kyiv 1901) and " Collected duhovnыh ïåñåí , yzbrannыh of Bohohlasnyka and perelozhennыh for choir " (Issue I. - Moscow 1899; issue . II. - Moscow 1901). He was also an active musical and public figure , who popularized the tradition of Kiev ( monastic and cathedral ) singing. After defending his thesis (1891), he taught basic and moral theology in kDa . Returning from the annual trip to Astrakhan Seminary ( 1893) , was appointed professor of moral theology and basic at the Academy. For a while he taught as a liturgical song (with P. Kalachinsk ).

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2013/1(7) The range of research interests V. Petrushevsky unfolds around church activities leading composers of the past ( Bortnyansky, A. Wedel, Tchaikovsky ), features new editions of their works , and contemporary religious composers (D. Allemanova , A. Fateev , J. Yayichkova O. scars , E. Varchyna , V. Orlova ) of historical and stylistic direction liturgical musicology ( review of the works of metals , M. Lisitsyna . writes the article " singing Bohosluzhebnoe Galicia- Rusko church", "O worship singing of Kiev- Pechersk Lavra "and touches issues (eg, repertory ) of church music, particularly in rural parishes. B. Petrushevsky did much to explore biographies and works Vedel . His report cited above , along with delivered at the celebration of the anniversary lecture I. Vedel Sikorskoho6 launched a new understanding of creativity Vedel in the context of Kiev church choral traditions and the formation of a special " cult" of the artist , as well as the history of church music of the nineteenth century. The researcher , while relying mainly on Turchaninova P. and V. Askochensky , further expanded their views. On the 100th anniversary of the composer he first published some parts of his " Liturgy" , later expanded documentary base vidnayshovshy document of the death of the artist. He started to research the stylistic features of his work , in particular, drew attention to intonation source of creativity in the Ukrainian church and folk pisennosti7 and the characteristic illustrative that heightened imagery canonical text and its style is distinguished among his contemporaries. In addition, the features nastroyevosti works Vedel he saw the cause of a huge impact on the audience , " Harakterystycheskymy properties of music Vedel javljaetsja uh relyhyoznoe voodushevlenye , osobaya prochuvstvennost and intimacy , uh lyryzm ovens , and revenge Even nervnost . THIS yskrennost and neposredstvennost feelings [ ...] always podkupala slushateley ee in favor. If strohye theorists and not udovletvoryayutsya eyu , at Mass, especially people molyaschyhsya , îíà always proyzvodyla neotrazymoe impression. And Sovershenno This is understandable : Only zazhyhaetsya fire from the fire, and always feeling yskrennoe living nahodyly otklyk in the hearts of other people "[10 , c. 178 ]. Equally important in the context of the formation of Ukrainian musicology are some observations in his article written for the 75th anniversary of the death of Bortnyansky . Celebrating exceptional impact on the development of the composer of church music, Petrushevsky drew attention to the need for an impartial assessment of " the ego Indeed significance " [8 , c. 237] in the context of strengthening domestic factors in the field of creativity. Thus, in contrast to the charge of " Italianisms " and the use of complex polyphonic forms , unusual Orthodox church music, the researcher expressed the opposite point: "In svoyh spiritual muzыkalnыh Works Bortnyanskyy yzbehal roulades and Too bravurnыh ukrashenyy wrote in morethan dostupnыh holosovыh rehystrah for yzbezhanyya obscene in church Creek, yzbehal well as slozhnыh knyzhnыh forms at kotorыh much zatemnyaetsya text "[8 , c. 261 ]. Emphasizing the organic feeling of the composer of choral sound , particularly due to the special attention to opportunities tesyturnyh votes convenience holosovedennya , emphasized that a negative impression of his choral style evolved through poor execution of works Bortnyansky . Petrushevsky also denied allegations of foreignness his harmonic language style Orthodox chants , indicating how this factor Bortnyansky musical language affects the integrity of the image- voluble plan of his works : " bezukoryznenы for the correctness of sonority and harmony , in chystote and correctness holosovedenyya ; Often ones vozvыshenno instrumen - torzhestvennыy

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2013/1(7) УКРАЇНСЬКА МУЗИКА 15 and vdohnovennыy character ( Cherubic number 7 in D major ), and otlychayutsya hudozhestvennoy prostotoy and neobыchnoy polnotoy AGAINST harmonic sonority ( Cherubic number 5, so-called. " orhannaya ") "[8 , c. 261 ]. Moreover , V. Petrushevsky one of the first needs delimitation testified at the general assessment of creativity of the artist style of his works and thus reliance on his own concept of functioning church music . Suddenly, in the context of the total attention primarily to concerts and Cherubs Bortnyansky, he gave the highest mark of his transcription : " weary prynymat su Attention stolko not ego essay , how many egos perelozhenyya and Theoretical vozzrenyya on ecclesiastical Singing . Ona and then sostavlyayut ystynnuyu credit [... ]. Perelozhenyya polnы umylytelnoy prostotы , intimacy and soderzhatelnosty , although i do not vosproyzvodyat vpolne podlynnыh tserkovnыh napevov . Ona and so Viewed rasprostranenы in ecclesiastical practice , that sdelalys How áû " obыchnыmy " tserkovnыmy napevamy "[8 , c. 262-263 ]. Especially important factor fruitful creative process in a liturgical - musical realm V. Petrushevsky factor considered thorough study of church hymns . For example, in the article " Peter Tchaikovsky Ylych How duhovnыy composer " stressed the need for highly professional training of artists who come to church music , and general professional approach to work in this industry , " Gradually and utverzhdatsya beginning penetrated into the minds and Thought , that church muzыkalnoe Creativity Can not byt delom some dyletantskyh opыtov in kompozytsyy , but something Ono at vsey own way of downtime and absence tehnycheskyh difficulties , notwithstanding talent trebuet very solydnoho musical education and dolzhna osnovыvatsya on sereznom arheolohycheskom - Historical Study tserkovnыh napevov "[11 , c. 277 ]. This thesis B. Petrushevsky argued in other articles , causing musical merits consequence of a long study of religious and semi penetration in structure and spirit of the Orthodox liturgical singing. Thus, "all qualities luchshye musical creativity LVOVSKII , for example kakovы neprykosnovennost tserkovnыh tunes samostoyatelnost and Beauty holosovedenyya , strict dyatonyzm , osmыslennost and roundness muzыkalnыh phrases , the correct tempo and Pr nahodyat themselves place in эtyh Works " [11 , c. 175 ]. By publishing in the journal " Guide for village pastыrey " series of articles on other church composer ( who either origin or activities related to Ukraine ), V. Petrushevsky sought to popularize their wider achievements and highlighting the role in the development of church music . How far he was trying to understand the determinants and patterns of impacts on the deployment of creative processes , show reflections on Kiev's singing style: "S TIME gradually slozhylsya first forum in Kiev osobыy church melody and the person of character harmonyzatsyy , How áû osobыy style church liturgical singing , kotorыy yzdavno recognizing right nazыvat kievsky , typychneyshymy representatives kotorogo still serve Singing Kiev-Pechersk Lavra and Chora monastery Kiev- Bratsk "[10 , c. 177]. Petrushevsky also tried to detect signs of polyphonic singing of Kiev-Pechersk Lavra in the style of other cells. Their significance for past and present periods emphasized in various quests and reviews. Thus , assessing the chants Kiev Semi Processed A. Fateev , he said a special value sources XVIII century. , Uncovered in the manuscript obyhodi Glinsky wilderness fixed Abbot Filaret , who at the time served kanonarhom distant caves of Kiev-Pechersk Lavra , and was later klyroshanynom Great church. Music " took to Monitor lavrskyy napev not Modern

16 УКРАЇНСЬКА МУЗИКА 2013/1(7) editorial ego , and the volume of video, some kind of online ymel in late 18 stoletie, ie Approximately in a while , when on okonchatelno slozhylsya in svoyh typycheskyh Features Ringtones and harmonycheskyh sochetanyy " [7 , c. 263 ]. In the same work he emphasized the use of techniques that are closer to the style of arrangement Lavra Kiev- half , " the very harmony on postroyaet Bolshoi chastyu in HIGH rehystre , that dolzhna Report perelozhenyyu Told to Follow Up nadlezhasche sostavlennoho Horus and Thoth moschnыy torzhestvennыy character kotorыy porazhaet anyone who had to slыshat Singing in Kiev-Pechersk Lavra , especially sa Seasons of the prosperity Her klyrosa "[7 , c. 263 ]. Style singing of Kiev-Pechersk Lavra , he devoted a separate article "O worship singing of Kiev-Pechersk Lavra ." Its value lies primarily in advancing identity formed in this key cell church singing : "All ukazannыe raspevы , Inbox in composition lavrskoho napeva , prodolzhytelnoho Subsequently upotreblenyya in - pevcheskoy liturgical practice , the power of genius tvorcheskoho South Pevtsov Russians , pererabotalys , orhanychesky slylys and splavylys in one svoeobraznыy napev , ymeyuschyy Such Characteristic Features , kotorыe give emu right to yzvestvoe samostoyatelnoe importance Among other raspevov Russkaya Church "[13 , c. 401 ]. The most important source of Lavra Kiev- singing traditions researcher believed Obyhod 1851, existed in two copies ( for left and right klyrosu ) and rewritten in 1880 a circular note. On this basis, he formulated the defining features of the style of singing , " Harmonyzatsyya lavrskoho obyhoda Very simple and nezateylyva . The basic Ring pomeschaetsya always su echoed tenor , tenor First dvyzhetsya parallel co vtorыm on tertsyyu Above , bass predstavljaet motion by Chief degrees of the scale and blog Sometimes hammoobraznыe hodы in the likeness of ancient эkstsellentyrovanyya [ ...] dopolnyaet viola, kotorыy Can byt zamenen pervыm bass. Melodycheskoho development soprovozhdayuschyh osnovnuyu Ring Vote No , on the Exclusive pervogo tenor kotorыy blog melodycheskoe Content , although not samostoyatelnoe [... ]. Holosovedenye not otlychaetsya chystotoy [ ...] tailored and not rarely predstavljaet zapreschennыe succession parallelnыh Kvint and octaves. Harmonyzatsyya THIS postroena in West majeure and mynore "[13 , c. 403-404 ]. Noting typical in structural and textural techniques (" hromoholasnыe vosklykatsyya ", " building a mnohokratnыe kakyh - lybo words ", etc.) , the researcher points out with great freedom to sing , "We sluchalos zamechat , that lavrskye pevtsы not every time poyut one and then the same Singing Sovershenno tozhdestvennыm way , but often - with razlychnыmy podholoskamy , yavlyayuschymysya they obviously ymprovyzatsyonno "[13 , c. 405 ]. The value of singing traditions of Kiev-Pechersk Lavra , based on the results of studies features rubrics , V. Petrushevsky sees the interdependence of aesthetic impact and compliance with the canon : " But fame and glory lavrskoho singing obuslovleno not only svoeobraznыm napevom and osobennыm Follow Up эtoho singing , Actually klyrosa genes . Follow Up This is the same as original way and typychno , How svoeobrazen samыy napev . Yspolnyaetsya Kiev- lavrskoe yskonnoe Singing Choir as nazыvaemoho monastic composition , ie sostoyaschym muzhskyh some of the vote , with prybavlenyem Alto - kanonarhov . CEI choir dovolno mnohochyslennыy and sostoyaschyy ... zvuchnыh and svobodnыh of the vote , the poet always with Large uverennostyu , hromohlasno , revitalization and rytmychno , but without ottenkov musical expression , that soobschaet emu prostonarodnыy character [... ]. Power and deystvennost lavrskoho singing zavysyt not

2013/1(7) УКРАЇНСЬКА МУЗИКА 17 only from ego massyvnosty , torzhestvennosty and hromohlasyya , kotorыe [... ] while singing in oboyh Lykov 's full of proof bыvaet Just Amazing , but here and strohoy ustavnosty ego and deeply sootvetstvyya co bohosluzhenyya course everyone and with the spirit of pious russkoho people "[13 , c. 409 ]. Pointing to the relationship with " troyestrochnym " singing , suggests that there was a four-part harmonization in the late XVIII century. In his own work B. Petrushevsky sought to use the Kievan Church singing sources so that they can efficiently absorb even unprepared professionally hory8 . He opublikovav several collections of transcriptions and copyright works (including your own) : 1898 - " Spiritual and Musical perelozhenyya Usually the Kiev napeva for chetыrёhholosnoho smeshannoho choir " 9 ; 1900 - " Collected hlavneyshyh pesnopenyy Divine Liturgy of the Kiev rospeva " for tryholosoho horu10 ; 1901 - " Spiritual and Musical essay for muzhskoho choir "; 1901 - " Hlavneyshye pesnopenyja Bdenyya vespers in the Kiev rospeva obschedostupnom perelozhenyy three voice" and " spiritual Collected muzыkalnыh proyzvedenyy "; 1906 - " Singing Holy Liturgy . John Chrysostom "for four-part mixed horu1 ; 1913 - another " Collected spiritual muzыkalnыh proyzvedenyy ." In the "Select muzыkalnoy spiritual literature " (up to about 1902 years) M. Lisitsin also called : a collection of " Singing in times th St. Chetыredesyatnytsu "as usual made klyrosnym semi choruses [4 , p. 262-263 ], " Blessed " sixth voice , " Yes yspravytsya my prayer " Kiev half that " Seoul Special zasluzhyvaet consent of attention with tserkovnыm ordinance " [4 , p. 263 ], " Litany and Nyne sylы ", " Our Father" (2 voice ), " taste and species" Kiev half . " Singing in St. Darov phenomenon " (" bless the Lord" signs and "Yes yspolnyatsya " Kiev half that used in their liturgy as O. Arhanhelskyy2 ). This list makes it possible to make a sufficiently impressed on the use of creative and scientific position B. Petrushevskaya. During the last years of the nineteenth century. and the first decade of the twentieth century. He worked out a large amount of semi Kiev , developing their principles in individual samples and in cyclic kompozytsiyah3 . Interestingly, among opratsyuvan other authors he selected the arrangements for publication of the half , which was common in Ukraine , and none of the resistivity of n species. Besides, did not try to support development in the then ruling liturgical works of Russian composers stylistic direction, based on the development glasovye models. Instead , as soon his younger contemporaries 'new school', he develops a consistent texture , timbre model , characteristic flavor varieties of local semi in a single regional church singing tradition . At that time, by the representative of Kyiv it was not a demonstration of " narrow views" , this limitation only a purely regional school of church music . So could be detected only distinct national bias , the desire to defend its position in terms of the widespread promotion of the achievements of the Moscow Synodal Choir and persistent criticism of singers styles of leading Kiev church choirs . Moreover , compared with Russian artists Vladimir Petrushevsky was quite significant competition. That's him in the Russian Empire beginning of the twentieth

18 УКРАЇНСЬКА МУЗИКА 2013/1(7) century. (1901 ) is one of the most complete edition of the author's hymns " All-Night Vigil " 4. These include eight rooms that are basic and most frequently used hymns " Vigil " - " Bless the Lord, O My Soul " and " Blessed is the man " reduced Kiev chant, " Sveti quiet " and " Nыne otpuschaeshy ", " Praise the Name of the Lord" tune Kiev Pechersk Lavra " Troparion voskresnы , poemыe at Immaculate ", " the Great slovoslovye " and " Vzbrannoy voevode " 5. Definitely representing the features of the approach V. Petrushevsky to singers chant traditions of the first cycle - Psalm " Bless the Lord, O my soul ." It deployed a complex composition , the structure of which is reproduced and deliver introductory prayer (" Come, let us worship "), poems and text of Psalm ( solos right klyrosu or kanonarha ) and choruses ( original refrains from repeating various text options and rozspivnyh thanksgiving ). Structuring principles and the relationship between the parts are emerging as the leading, zatinyuyuchy purely choral zvsoby such as tempo , dynamic nuances or timbre changes. However, the singing tradition in Kiev Pechersk its variant are presented in the original issue cycle clearly and convincingly. Aavtor operates typical for this style means holosovedennya and texture, textured where the main element poschablevoho holosovedennya sekstova is predominantly vertical , supported by a clear functional bass , while the corresponding parallels reflect the principles strochnoho polyphony and asymmetric metric (with some poetic repetition units) aimed at domination syllabic sacred text. However, in the transparency of texture and timbre sustainability - register sounds, gradually formed a style effect quite complex , requiring as much mobility singers in operating models monodychnoho type and urgently (though almost imperceptible to the average listener) for general structuring skills necessary to create ahohichno -dynamic shades. The difficulty of solving this problem illustrates the least value styshka "All wisdom sotvoryl Thou " and the chorus "Glory to You, O Lord sotvoryvshemu all ." Between these fragments there hruchka interaction between two stylistic elements. The first rule syllabic ( the principle of " one syllable - one chord " Amended lilting styshkiv applied at the border , in the latter part of the first line - " Thou "). In the second - for various types of chant text showy " demestvo " kontratsnist which the previous fragment enhanced dynamics sufficiently expressive singing a variety of related models, and especially - a parallel downward movement of the opening phrase (" Thank You "), where all voices clearly emerges rhetorical figure of " convergence ," which in the context of poetic foundations (" sotvoryvshemu all ") can be interpreted as a way for the ascent of God in the created world. Among the most expressive hymns cycle " Vespers " - Simona chant prayers God-Receiver " Nыne otpuschaeshy " that symbolizes the meeting of two eras - the Old and New Testaments. For roznomayittyam composers interpretations of the biblical text that existed before that time will be set soon, chant V. Petrushevsky characterized by high reverence to the canonical version of the Kiev half , is not the most common in the Orthodox Church singing practice, both Ukrainian and Russian territory. Following the presentation tryholosoho , chain - parallelisms tertsevo sekstovoho type in holosovedenni without providing any of the primary functions of votes , he wants to restore the special lyrically intravertyvnyy tone established by

2013/1(7) УКРАЇНСЬКА МУЗИКА 19 means of prayer , not trying to make it in the content of their own creative factors of ego , as if bowing before her universal significance. Score " Vigil Vigil " V. Petrushevsky demonstrates how unique insight artist specific rhythm of worship and careful , correct use of certain musical patterns of recurrence . The total composition reveals the logic of relations and sufficiently detailed miniature rooms. These " miniatures " in " Vigil " two - a " Sveti quiet " and " Nыne otpuschaeshy ." They are located in the central zone of the cycle ( the third and fourth digits of eight) , forming its core contemplative . Cycling is also manifested in the creation of arches and through the development of musical material. If naskriznist intonation development under these conditions certainly lies in organic stylistic basis , the typical classic- romantic cycles of contrast matching principle as one of the attributes of the copyright multipart compositions V. Petrushevsky apparently sought to avoid. Hypothetically, the simplest argument is given insight artist incorrectness straight use in church creative tools that are directly associated with secular music. However, a rich palette of prayer , singing techniques and ritual semantics naturally bring to his music are adequate substitutes, sometimes even advanced level : universal models replace singing intonation and roll theme , and a huge psychological and prayer nuances replaced contrasts with the usual secular use. Thus , rather than attempting to individualization of content choral shaped in line with the dominant paradigm of romantic , imaginative artist reached integrity and hlybykoho psychological and semantic nuances of each through full compliance with the principles of Ukrainian - singing liturgical tradition. And that is what his " AllNight Vigil " clearly stands out among other choral cycles of the late XIX - early XX century. Similarly composer solve creative problems in his other liturgical cycles. Among significant for some of these stylistic nuances - testing the model of singing hymns in kanonarhom "Yes ispravytsya my prayer " with " Liturgy Pershosvyachenyh Gifts " and the use of different types of relationships chants of " Our Father " and " sacrament " (" taste and species" ) , the introduction of the arsenal of Ukrainian folk- song elements ( tertsevo - sixths echoed elements pidholoskovosti , modal shifts , etc. ) in the songs " Liturgy of St. John Chrysostom " 1906 year ( episode "Lord, save the Pious " in number 4 " Priydyte , poklonymsya " , № 7 " Cherubic Song of ") and so on. Instead, at the conclusion of "Compendium of spiritual and musical works ," he posluhovuvavsya other principles , most clearly represented in the recent work of this type ( 1913). This issue stands out among their lack of previous opus V. Petrushevskaya. These include "With God with us " Vedel , " Sveti quiet " and " Praise the Name of the Lord " S. Dehtyarova , " my soul " Vedel trio " Razboynyka blahorazumnoho " and " Asleep Plotyyu " Kiev half , " Song of Cherubic " Greek semi harmonization B. Ranhdhartynhera , " Mercy of Peace . You Poem " some ancient song unknown author ," It is meet is the " Greek semi harmonization B. Ranhdhartynhera and psalm " Praise the Lord, O My Soul " ancient song of unknown author. Here, a constant position on Kiev singers sources pronounced dominant influence Ukrainian choral and church- performing practices of the century. One of the first steps towards the comprehension of a national style of singing , prayer made by V. Petrushevsky was work on the publication arrangements

20 УКРАЇНСЬКА МУЗИКА 2013/1(7) paraliturgical Pochaevskogo Bohohlasnyka songs from 1825- the year of publication and Bohohlasnyka Stavropyhiyskym Lviv Institute in 1886 ( reprinted instituted by the Synod Council ). This edition also directed at meeting the needs of domestic music-making and singing in schools that are particularly intensified during the celebration of major feasts [1, 5]. Of all the 22 songs he chose for Christmas ( 6), Epiphany, Candlemas and Easter (2 ), one Annunciation and others. In his review in the journal " Church- pryhodskaya School" stated: " Krasote , zakonchennosty and smooth tunes first forum , vыbrannыh author sootvetstvuet in him yzyaschnaya , Indent zhyznennosty and , along with the topics prostaya Harmony , that delaet a collection vpolne dostupnыm Follow Up obыknovennыh shkolnыh village in general and choral "[5 , c. 190-191 ]. Instead celebration features the text in the review of this publication in the journal " Guide for pastыrey village " (" Hue easy to sweep neznachytelnыh Features malorusskoho adverbs " [3 , p 81 ]) pointed out , again , the conscious desire W. Petrushevsky to emphasize national color. This direction shall also written a year before the original composition " Prazdnychnыe Leisure " (1901) on texts from " Angel slavoslovyya " and six arrangements of melodies from Bohohlasnyka (" Song of Christmas on Christmas" , "O God Predvechnыy ", " Yordane rare uhotovytsya " " Vonmy sky", " Song of Sretene to the Lord" , " Song of Presvyatoy Mary "). Interestingly, the criticism is recognized in the fact of publication of this collection of socially relevant alternative as " anachronistic " singing songs of winter and spring time and " reckless " the then working-class pisnyam6 . Creativity Basil Petrushevsky though reached the highest level of artistic achievements of outstanding composers of the first quarter of the twentieth century. , The forms of development of church- singing style and genre repertoire reveals a high degree of relationship of academic and artistic factors. Nataliya Kostyuk. Vasil’ Petrushevsky and liturgical music in Ukraine late XIXth – early XXth century. The name of Vasil Petrushevskii today little known to the scientific community. However, its activity aimed at understanding and development of Ukrainian liturgical and musical traditions, in the last decade XIX − early XX centuries marked by significant achievements. Teaching at the Kiev Theological Academy, he was the general public and educational activities, popularizing the art of church composers of the past and the present, he also wrote his works, which reproduces motet art Kiev region. These pages in an article of his legacy. Keywords: Vasily Petrushevsky, Ukrainian liturgical and musical traditions, church hymns, singing style, arrangement. literature [ B. Mr. ]. Collected duhovnыh ïåñåí , yzbrannыh of Bohohlasnyka and perelozhennыh for choir VG Petrushevskaya , Issue 2 / / Kievskie Diocesan Gazette . - 1902 . - № 2. - 15 January. - P. 77-78 . Borovik M. On the history of the study of creativity Vedel / / Figure Artem Vedel in historical and cultural context [= Scientific Bulletin NMAU . Tchaikovsky , Vol. 11]. - Kyiv 2000. - P. 11-18 . GB Collected duhovnыh ïåñåí , yzbrannыh of " Bohohlasnyka " and perelozhennыh for choir V. P. / / Guide for pastыrey village . - T. 2. - 1900 . -C. 80-82.

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Lisitsyn M. Review muzыkalnoy spiritual literature. 110 authors, the vicinity of 1500 works. 2nd edition . - St. Petersburg , 1902 . - 327 p. PK Byblyohraf . Note, : VG Petrushevskaya . " Collected duhovnыh ïåñåí , yzbrannыh of " Bohohlasnyka "and perelozhennыh for choir / / Church- pryhodskaya school. - Book. 3. 1901 . - October. - P. 190-191 . PK Byblyohraf . Note, : Petrushevskaya VG Collected spiritual muzыkalnыh proyzvedenyy / / Church- pryhodskaya school. - Book. 9. - 1902 . - April . - P. 97-100 . Petrushevskaya V. Bohorodychnы to Lord I cry , ymenuyuschyesya dogma, Bohorodychnы on aposticha , antyfonы and yrmosы voskresnыe âñåõ fosmy glasovye , the Kiev chant / / Guide for pastыrey village . - T. 3. - 1901 . Application solution . - P. 262-264 . Petrushevskaya Dmitry V. S. Bortnyanskyy / / Guide for pastыrey village . - T. 3. - 1900 . - № 45. - P. 237-240; № 46. - P. 259-264 . Petrushevskaya B. Spiritual and Musical perelozhenyya with ancient rospevov and essay GF LVOVSKII / / Guide for pastыrey village . - T. 3. -1900 . Application solution . - P. 174-177 . Petrushevskaya Acting personality and church musical creativity AL Wedel / / Guide for pastыrey village . - T. 3. - 1901 . Application solution . - P. 176-180 . Petrushevskaya W. Peter Tchaikovsky Ylych How tserkovnыy composer / / Guide for pastыrey village . - T. 3. - 1901 . - № 12. - P. 285-288; № 13. - P. 306-309; № 15. - P. 343-353; № 17. P. 395-399 . Petrushevskaya V. Preduvedomlenye / / Collected hlavneyshyh pesnopenyy Divine Liturgy of the Kiev rospeva . - Kyiv 1900. - P. 2 P- skyy Acting worship singing of Kiev-Pechersk Lavra / / Guide for pastыrey village . - T. 2. 1903 . - № 33. - P. 399-413 . B. Sauvé I. " Russian Goar ' s ego School / / Proceedings Bohoslovskye . - Moscow , 1968. Vol 4. - P. 39-84 . Yazlovskyy Alex St. Byblyohrafycheskaya Note, / / Kievskie Diocesan Gazette . - 1901 . - № 2. - 15 January. - P. 98-100 .

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2013/1(7) Yakym Horak “SOKIL” SOCIETY AND FOUNDATION OF HIGHER MUSICAL INSTITUTE IN LVIV For the first time on a documentary basis , participation of cultural and sports society "Falcon" in the establishment of the Higher Institute of Music in Lviv. The main driving force in the process becoming formed in the " Falcon " music committee whose goal was the establishment of Ukrainian Lviv Conservatory. The Commission conducted the organizational work of collecting scientific plans , regulations , information on the structure and teaching methods best European conservatories , adaptation and accounting experience which was the basis established in Ukraine Ukrainian music school . Keywords: Company "Falcon" , the music committee, Ukrainian conservatory, Higher Institute of Music , "Union of the singers and musical societies " Budzynovsky , Vahnyanyn , Ljudkevych.

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Ukrainian Gymnastic Society "Falcon" , organized in Lviv in 1894 to educate the people of unity , strength and sense of honor by fostering physical education, has long become history Ukrainian national liberation movement in the early twentieth century Galicia . One cultural initiatives, the Company has become an essential aid and assistance in the establishment of the first in Ukraine Ukrainian music educational institutions - Ukrainian conservatory, which in the establishment called " Higher Music Institute " and this name entered the history of Ukrainian culture. During the Soviet era , this facet of activity " Falcon" publicized for obvious reasons could not. In studies of the history of the formation of the Higher Institute of Music in Lviv, which appeared at the time of Ukrainian independence, the participation of society " Falcon" in the establishment of the institute only occasional , very general , brief and contain research information konstatatyvnu Stephanie Pavlyshyn1 , Leszek and Teresa Mazep2 , Myron Cherepanyna3 . Basil Laba in the study of the composer Jaroslav Yaroslavenka4 - Organ Society "Falcon ", which was directly related to the preparatory work on the organization of Ukrainian Conservatory in Ukraine - only three sentences mention the 1902 creation of the music section " Falcon ", which raised the issue of the establishment in Ukraine Ukrainian Conservatory and composition of the Commission cites in June and December of that year. Help Society "Falcon" in the organization of the Higher Institute of Music in Ukraine lasted about a year - from early June 1902 until early July 1903 . A detailed documentation of these events provide illumination manuscript materials that have been preserved in the archive of the company "Falcon" (f. 312 TsDIAL ). This book protocols Society "Falcon" (case 38) and materials ( three minutes of meetings , appeals to Kuratoriyi and highlight one letter " L' Boyana ") music committee of the Company (the case 47). Text last fully with the relevant scientific apparatus joins in the appendix to this article. The impetus for the involvement of " Falcon " in the educational musical institution ( Conservatory ) in Ukraine was the publication in the newspaper "Ruslan" article " Music conservatory " (no byline ). It , inter alia, stated: "I do not intend to write some kind of reprisal for Sue topic, but just want skonstatuvaty that the musical polls we be

2013/1(7) УКРАЇНСЬКА МУЗИКА 23 wasting the talents of more than in any direction which the ynshim because our people are out of their natural inclination fraught with great musical treasures heard and sposibnostyy . Quite smilo can say that our restaurant circumstances according to this , our restaurant was orhanyizatsyya in that and help with regard to the public, is one Krushelnitskaya, Mishuga and Didur be collected , laurels and gold, but dozens sposibnyh vyvinuvanyh artists and nature - blown to glory by Rusko name the world "5. Article informed as it was made on arrangements for the conservatory , " With so convince people inyitsyyatyvy and mobility that group be Lvivske circle " Falcon " idea presented is based " music conservatory , " which would give the opportunity to our molodyizhy musical entities. Inyitsyyatory be examined in detail between the circumstances which must be chyslyty and carefully weighing all the pros and reports of new instytutsyyi based against , say that our conservatory could rozporyadzhaty pervoryadnymy uchytelskymy forces and buy vkrottsyi notable number of disciples . For a small monthly payment could therefore benefit from science conservatory disciples - Rusyns Lvivske schools , pupils SS Vasylyyanok and numerous dylyetanty that for a lack of opportunity given zasnyityity svomu talantovy . Whensame conservatory skonsolyiduye be uhruntuye and his istnovanye , opershys on uchytelskyh power points , it is not excluded that takes a wider circle of music lovers and will be the focus of musical zhytya that will attract to itself ever more chyslennyiyshi series looking science " 6. Cited fragment indicates that the initiative of establishing Lviv Conservatory existed in the " Falcon " is still , however, the Company records the fact is not recorded discussing the idea of establishing a conservatory to the rise of this article. Come to find out , or "Falcon" had something to do with this post. Best of all, according to the authors , in the conservatory open society " Boyan ": " Inyitsyyatory measures of this idea recognize themselves as well as with regard to in fact be attributed to private " Boyana ". Unfortunately, Bojan "in poslyidnim chasyi no evidence of that energy and pidpryyemchyvosty which be noted from the beginning, and so sublime idea -based music school or conservatory , received with indifference zderzhanosteyu " 7. In the post reply "In the case of musical conservatory founded " the then head of the " Boyana " Vladimir Shuhevich denied the accusation of passivity and lack of " energy and pidpryyemchyvosti " " Boyana ": " First of all I must point out that the Lv . Bojana no one in that case not be attributed , thereby trafyv Bojana povysshyy reproach innocent he would rather me be attributed personally , as a member of the " Falcon ", not inyitsyyator really only clue inyitsyyatora filed , not to mention in fact neither slovechkom of Lv . Bojana what I said that this matter should be well entertain , discuss , dumb îíà become public because of the idea to zdyiysnenya too far and kompromitatsyya easy. It was just at this passionately week when, as well as in the days of the week , hodyi me was to discuss the matter with have seen " Boyana ", which I had the pleasure of predlozhyty . In that I have seen tsyily invited " Boyana " sample for holidays on day 6 May. Whensame but this has served zasyidanye not be , because Bojana be prepared for the concert in Komarni , wherein have seen and participated in , but I appointed second sessions povysshoyu tsyilyyu possible to nayblyzshyy day TE tomorrow "8. Author wondering why proponents establishing that " be examined in detail , even usmotryly are very dohidne placed on conservatory - do not be taken for the work for them so close zdyiysnenya but pricey " Ruslan "

24 УКРАЇНСЬКА МУЗИКА 2013/1(7) domahayut be from" Boyan " after " Ruslan " does not show energy and pidpryyemchyvosty and the idea is based conservatory fallen upon indifferent ! Come now , ladies and gentlemen , the works ! Not that who Jehovah does, but is that do ! "9 An article about the conservatory in "Ruslan " was discussed at a meeting of VI " Falcon ", which was held June 7, 1902 . With abstracting the case made by the chairman of the company , Alfred Budzynovsky : "D [ pyr ] Budz [ ynovskyy ] vykazavshy need conservatory founded as it is given the tollgates znachinye the culture of the people are given the lack of feeling tollgates - makes select komisyyu 6 members kotraby rozslyidyla case conservatory and ground zasyidanya elders came from one particular made. By offering komisyyi wrong f [ pyr ] Budzynovskyy slyiduyuchyh friend : Haninchaka , Vintskovskoho , Vitoshynskoho , Tsehlynskoho and Kupchynskoho . Listed by recognizing right "10. Thus, the result of the discussion was organized by the music committee of the Company, which included Roman Haninchak Yaroslav Vintskovskiy ( Yaroslavenka ) , Jaroslav Witoszynskyj (Deputy predsidatelya ), Roman Tsehlynskyy ( predsidatel ) and Thaddeus Kupchinsky . The point, around which to focus their efforts this committee was to be organized in Lviv Ukrainian music conservatory. Mikhail Voloshin in article about the High Institute of Music said: " Sergeant " Falcon " was pretty zanyalas intenzyvno Seyu idea and arrived poly syiy meetings in the case where more than one time a very grave subjected under the broader entertainment " 11. However, records of meetings as an officer of the Company, and formed a musical Commission provides no basis to assert holding " meetings poly sions in case." The first meeting of the Commission held a musical June 11, 1902 . Minutes of the meeting a number of important documents and a few known issues. The meeting Vintskovskiy and John Boberskyi klopochutsya number of students for the future Conservatory Denis Kuchiki doubt the financial capacity of the company to overcome this thing . Unknown initiative is still expressed at the meeting Budzynovsky , seek help to Lviv entrepreneur Ludwig Heller , who at the time was engaged in organizing in Lviv Philharmonic. This idea ran into an outcry present at the meeting Stanislaus Lyudkevych to work with the Poles because of the " reluctance of Polish conservatory for us " ( Galician Conservatory of Music Society ). Lyudkevych case also raised the lack of professional musicians who could teach at the Conservatory formed . The above Lyudkevych at this meeting was probably the main tenets of his article " A few words about the need are established Ukrainian -Ruthenian Lviv Conservatory of Music ," published in the pages of " The Works " in November 1902 Stating strange "lack of initiative in competition to of culture " in music "and the fact that the Ukrainian city musicians are pliable material for others' musical cultures Lyudkevych said: " Without the so-called intensive cultural work we do not think it is not about the rise of the culture , but even its political significance. All our political dezyderaty have basis and justification only in the cultural progress and with it the growing needs. And our progress in the musical culture at large and all bilshayuchiy competition is still sick . We can not continue this work in music, as still used to, but it is necessary to transplant , if possible completely on our soil achievements of European culture . Taki was to become a hotbed of our conservatory "12 (emphasis S.Lyudkevych . - JG ). Solution the lack of qualified music teachers in Lviv Lyudkevych sees that the " right

2013/1(7) УКРАЇНСЬКА МУЗИКА 25 conservatory will give us the initiative and the initiative to develop a professional force in the near future ", but in the beginning you can use the forces of outsiders , minorities are well represented in many the musical culture of the city. June 21 , the second session of musical Commission. It outlined a plan Budzynovsky science in the conservatory, which would have to cover three areas: singing ( choral , solo , choral church ) , playing the instruments ( piano , strings , " tin ", flute, oboe, clarinet) , theory (" fundamentals of music , harmonization, counterpoint , history of music " ). Speaker for the whole session persistently focuses members on what should clarify the scope of science in every direction - "what should be taught in general" . Therefore, " Dr. [ HS ] Budzynovskyy ( c [ arshyy ]) senting formally made, in order to behave in Vienna , Prague, St. Petersburg and the Lysenko case sent us a plan of science, so that then one of the members komisyyi plans are translated into our language and komisyyi on zasyidanyu predlozhyv . In theis Dr. [ HS ] Lyudkevych deklyaruyes write to Lysenko and shall inform at the same time that his znakomyy from St. Petersburg promised to send us a plan tamoshnoyi conservatory . Dr. [ HS ] Kupchynskyy assumes vystaranya be plan conservatory in Prague "( underlining in the manuscript. - JG ). The point of collection plans science within the European conservatives given that simple. Lyudkevych actually wrote to Nikolai Lysenko , as promised at the meeting, but did so by researching Zenoviya Shtunder (which also published this letter ), sometime in July 1903 on establishing the Conservatory in case the letter reads as follows: "We have people in Lviv undertake zasnovaty his Ukrainian conservatory. His men to this world there will be little ( while the rest shcho obsadytsya two or trema foreigners ), we should have quite disciples . But I should be able to plan science and we painted all znachniyshyh conservatories at the request of the plan and schedule science. I write to St. Petersburg to Kiev. I heard that St. Petersburg is a separate department at the Conservatory "ethnographic " and do not know if this is for sure. I do not know whether in Kyiv is that this . I appeal to you therefore Bn . Mr. Sir, musical community of Lviv and Galician , O gentle mediation in the case. Not mozhuchy read at the Kiev Conservatory addresses or Peterburskoyi , please oh gentle advice and sent eventual plan of science " 13. Unfortunately, the answer to the letter Lysenko did not survive , so it is unknown whether and to what extent responded and helped the composer present case. First section of musical developments announced at the ninth meeting of the Society elders September 25, 1902 . According to the protocol , the session "D [ pyr ] Lyudkevych lets deal with dyiyalnosty musical groups & Sections . In view of the plans that have not yet made, Inasmuch as there was no time to embrace the so- briefly chasyi collected materyyalu as well as due to lack of money hodyi be so soon Xu thing to put in zhytye and sets made: Sergeant uhvalyaye that if ever be able to become a conservatory at your own forces togda can be vidorvaty from Falcon and as funds posyidanyh pay Sokolov telescope at tollgates based capital. To receive "14. Intensive discussion of the various parts of the foundation Conservatory and continued throughout the fall of 1902. It turned into regular meetings and consultations " Falcon " from " Boyan Lviv ." Thus, at a meeting of " L' Boyana ", which took place on November 7, 1902 under the chairmanship Shukhevicha , "the amended n [ analysis ] Pebbles, popertyy n [ a] Mr. S.Lyudkevych , decided to interrupt the meeting , beyond their effect, and begged n [ en ] A. Budzynovskoho as to the progress of the case filed

26 УКРАЇНСЬКА МУЗИКА 2013/1(7) is based music conservatory . For an explanation of the case for measures of progress to spiznenoyi pores and is scheduled Further meetings on day 14/11 "15. In continuation assembly 14 to the matter did not return . The minutes of the general meeting of the Ninth " Falcon" November 30, 1902 , which was held under the leadership Budzynovsky , without specifying who referuvav case placed the information about the outcome of the discussion: "When people uvazhanyy is the second nation in Europe to spivolyubnosty , but not knowing why prescribe or indifference , or lyinyvstvu or marriages organization that is not our spiv plekayes and cornfield lyiteraturno and musical creativity almost tsyilosty weeds overgrown . Falcon, which is zadachyyu bodryty body and in fact followed the ghost , and considered his duties sokilskym mousse to give the initiative in the matter. The first to have learned uslyivyem sergeant based conservatory of music . In one tsyily formed musical groups & Sections , whose chairman is selected d [ Ruga ] Tsehlynskoho small classes be implemented in such zhytye conservatory . Porobleno steps tsyily win , but as funds brought in such plans orhanyizatsyyni conservatives music abroad. Case systematic porishenya come in waves to get funds. Ref [ erentom ] what is d [ pyr ] Lyudkevych "( underlining in the manuscript. - JG ) 16. Interestingly, the printed version of the report in the press about these general meeting " Falcon" reflects not so favorable reception of one accord and initiative of the conservatory. For the printed version , the assembly " interpelyuvav n [ en ] Osip Shuhevich towards music conservatory , precisely so that this is not like a Falcon laid konserovatoryyi , because it does not lie in the circle of Jehovah dyilanya and in order not pomischuvav in their statements of account charges are based on the needs of telescope . The Chairman explained that because of the circumstances, almost all the Lvivske core conductors at the same time members of the Falcon , Falcon statute contains too by the way tasks are also cultivated in the Falcons spivu and music , so the idea is based upright conservatory Took all the members and above members spivaky with great animated for need for such a conservatory suspilnist feels generally . For speech, several members porisheno case orhanyizatsyyi conservatory conduct further "17 (emphasis in pershodrutsi - JG ). The minutes of the first meeting of the elders " Falcon" December 10, 1902 the composition of the music committee reached a " goal [ Peninsula ] Vahnyanyn members Haninchak , Zazulyak , Lyudkevych, Domanyk , Vintskovskyy , Kupchynskyy " 18. A second meeting of the Society January 21, 1903 " musical groups & Sections [ ychna ] ukonst [ ytuyuvalasya ] picking head d [ Ruga ] Vahnyanyna and secreted [ etarem ] d [ Ruga ] Zazulyak " 19.Tsytovani fragments of two minutes of meetings " Falcon " was first documented cooperation with this company Anatole Vahnyanyna , which is not mentioned in the currently existing research on the life and work of this composer. Moreover, the papers argue that it is in conjunction with the " Falcon" Vahnyanyn started making first steps into the future of the music institute. At a meeting of musical Commission reported December 15 Budzynovsky of advice on creating a conservatory in the province, as well as highlighted the case appeal " Falcon " to the Metropolitan kuratoriyi the proceedings covenant Metropolitan Sylvester Sembratovych . His dying bequest Metropolitan bequeathed considerable sums separate Ukrainian societies and institutions. According to published press reports,

2013/1(7) УКРАЇНСЬКА МУЗИКА 27 for n craft seminary in Lviv zapovidalosya 2000 crowns , and for cantors seminary 1000 koron1 . In order to extract the funds to establish Conservatory of Music section addressed the metropolitan kuratoriyi proposing that "those seminary founded by conservatory transferred the amounts novoosnovaniy instytutsyyi , and at the same time so that their exiled to the Students of the science of music orhestralnoyi zhlyadno conservatory measures of church singing ." Unfinished manuscript chornovyk appeal music section " Falcon " to the consistory with numerous corrections , instructions to permutations and peremontazhuvannya text manuscripts preserved in the protocol section. Judging by the fact that the official information on the disposal of financial Metropolitan for Ukrainian companies appeared in the press in late September and Budzynovsky says about this matter at the meeting of December 15, 1902 , and so the draft should be dated to the period between those dates. Unfortunately, the discussion of financial issues draft interrupted. Despite spacious explanation necessary foundation in Ukraine Ukrainian Conservatory reasons that prompted the " Falcon" take the case , a description of the steps already taken (the formation of a musical section) , the paper takes a piece of the fate of the music section: "In fact lawful prymityty that translated by vsyih admission formalities tsyila musical groups & Sections will disappear from the " Falcon " and ukonstytuuye be as separate, independent, outside the " Falcon" and a standing instytutsyya science will lead the continued under his own charge, and to the members of the circle measures of the new instytutsyyi should be called all the vyznachnyiyshi personality of the circle Rusko communities in Ukraine . " Lyudkevych at the same meeting reported on plans for getting science from different conservatories and for stacking them on the basis of the plan of science and the Lviv Conservatory elected charter commission composed Vahnyanyna (approved at the same meeting, the chairman of the music committee ) Witoszynskyj , Lyudkevych . At the request Vahnyanyna announce the establishment of the Commission on the conclusion of the charter Conservatory in print, in the newspaper "Ruslan" appeared this note : "The case -based " music conservatory " wrote us:" The Day of December 15, beginning with the elders Lvivske " Falcon " gathered to be komisyya Articles of the Statute "music conservatory ," which had to be zasnovaty in Lviv for umnoho cherished music. Wires in that dilyi laid in the hands of an adviser Anatoly Vahnyanyna , which at once with professors and Vitoshynskym Lyudkevych ulozhyty rail charter for the new Rusko instytutsyyi suddenly with a scientific plan. Also approved komisyya be attributed to have seen " The Lviv Boyana " at the request of the said komisyyi sent to your representative. Needs of scientific musical instytutsyyi feel Rusyns henceforth more than ever , if ever , not only in larger centers vsyih Rus , but also in smaller bridges arise Society spivatski WHO lacked proper guidance. On the progress of the case will periodically submit detailed reports and nadyiyemo be that the public is cordially Rus povytaye new instytutsyyu which as time in our peoples would be able to give as nebavom naykrasshi fruits " 2. The mentioned musical appeal committee " to Falcon's " L' Boyana "is apparently undated letter of appeal " have seen praised ! "Which manuscript is preserved along with the minutes of the meetings of the commission. The case progressed very quickly, because at the fourth meeting of the " Falcon" March 25, 1903 informuvalosya " Komisyya be [ musical. - JG ] adopted zalozhyty Vyssh Institute of Music . Tyisnyiyshu orhanyizatsyyu given dd . Vahnyanynovy , Vitoshynskomu , Lyudkevychovy and Voloshin . Have a ulozhyty statute rehulyamin and research plan and thus be komisyya will separate Xia of the company. Adopted the

28 УКРАЇНСЬКА МУЗИКА 2013/1(7) amended second A. Budzynovskoho that everything be komisyya decides to put on a firm of that school, which will take zalozhyty be komisyya "3. The above quote is the first documented appearance of the name " Higher Music Institute " - March 15, 1903 and therefore much earlier as an institution under this title will adopt open the " Union of the singers and music companies ." After May 2, 1903 approved the charter Viceroyalty "Union of the singers and music companies in Ukraine » , the fifth session of the elders " Falcon" May 23, 1903 report from the planned Vahnyanyna music section , but " musical groups & Sections of the report were not for neprysutnosty village of prof. Vahnyanyna "4. June 10, 1903 the founders of the "Union of the singers and music companies ' " signed and published a few days in the press " Appeal " 5. This document informing the general public purpose of the company , urged members to join and to participate in the first general meeting of the "Union ... ", scheduled for June 28 of that year. According to the report of this meeting , "P [ en ] Lyudkevych gives kvestyyu founded a school musical " Union "and be with porozumity Ltd. [ arystvom ] " Falcon " , which in that case had a somewhat " 6 , and in response to the proposal Lyudkevych , Shuhevich (Host meeting) " against Xia ago." Only suggestion Lyudkevych poruchyty Highlight a music school approved assembly. In the context of the above documents , it is interesting that the author offers only speaks about the music school "union ", while in March, " Falcon" was made to establish a " Higher Music Institute " and Lyudkevych , no doubt , knew about it. What was the reason for this decision are re- solved cases is still quite a mystery that needs further archival research. It should be added that among the protocols ' Union, singers and music companies " name" Higher Institute of Music "will be released only on the separation meeting July 6, 1903 . Following the first general meeting of the "Union of the singers and music companies" June 28, 1903 , the Company "Falcon" , considering its function filled, moving away from that of the formation of the conservatory. At the seventh meeting of the elders of the company July 9, 1903 "on the amended Railway [ Ruga ] Domanyka agreed to submit the case n conservatory " Soyuzovy Boyana ", so that he was placed be genuinely Seyu business and introduced tollgates as nayskorshe in zhytye and turned so that " Falcon " the funds he still suffered . To receive "7. After that message right conservatory education disappears from the pages of documents " Falcon ". The report protocol X Society General Meeting , which took place on 27 March 1904 on the establishment of the Higher Institute of Music as a result of the music committee is reported as a fait accompli , " Sokol having the problem orhanizatsyynu work among the people turned their attention to one of vydnyiyshyh cornfields still Siege standing , that the lack of institutes in which obrazovalab be our molodyizh in my language, spivi and music. In tyiy tsyily collected materyyaly zlozhyv komisyyu and services recommended Powered tollgates in this instytutsyyi in zhytye . When komisyya rozsmotryla collected materyyal , ulozhyla charter and became a new cultural activities Falcon instytutsyya titled: Vyssh Institute of Music . The further fate of the institute lies in their own hands Ego "8. Therefore , the contribution of the company "Falcon " in the establishment of the Higher Institute of Music was essential in current musicological research properly underestimated (because not investigated ) , and therefore ignored. Taking part in the second stage of the attempt ( after the first in 1899 ) of Ukrainian educational music school in Galicia, "Falcon" failed to practical issues . The result was the creation of the

2013/1(7) УКРАЇНСЬКА МУЗИКА 29 Society of Music Commission, specifically designed to deal with this matter. Commission was able to rally the galaxy figures, which became then really the driving force in the establishment and the beginning of the Institute ( Vahnyanyn , Lyudkevych, Witoszynskyj, Domanyk and members of the " Falcon" in that period were also Shuhevich , Voloshin ). Thanks to the work of the commission , whose existence was assumed as temporary, collected documentary material (research plans and information about the organization ) a large number of European conservatories. Adaptation of this material has become a strong methodological , legal, scientific basis for the creation of the institution. The music committee held regular meetings and cooperation with management " L' Boyana ", which simultaneously engaged in this business , tried to put out the financing (as heritage Bishop S. Sembratovych ) fussed room for the new institution , the selection of teachers' training and a set of students. Intervention " Falcon " in the case of the Institute were in uncertain period when formed in 1901 "Union of the singers and musical societies " through two years from the approval of the problems could not begin its work to tackle this task. Help " Falcon " is not only filled this waiting time, but intense activity accelerated the preparation process so that with the approval of the "Union" everything was already prepared and the facility was quickly put into practice. Yakym Horak. The Society “Sokil” and the Foundation of the Higher Music Institute in Lviv. The article for the first time examines the documents connected with the participation of the cultural and sport society “Sokil” in the foundation of the Higher Music Institute in Lviv. The music commission, created at “Sokil”, became the major mover in this process. The purpose for this commission was the initiation of Ukrainian conservatory in Lviv. The commission carried out organizational work connected with gathering of research plans, regulations, information about the structure and methods of teaching at the best European conservatories. Key words: the society “Sokil”, music commission, Ukrainian conservatory, The Higher Music Institute, The Union of Singers and Music Societies, Budzynovskyi, Vakhnianyn, Liudkevych. literature History Society "Falcon " / / TsDIAL . - F. 312. - Op . 1. - AB. 38, 39, 47. Archive Grinevetsky / / TsDIAL . - F. 867. - Op . 1 - AB. 24. Appeal / / work. - 1903 . - № 121. - 2 (15) .06 . - C. 3. M. Voloshin Vyssh Music Institute in Ukraine / / Music Almanac : lyiteraturna part of the first illustrated kalyendarya music in the year 1904 / Zlozhyv and ordered Romuald Zarytskyy . Lviv: from the printing Shevchenko Scientific Society , 1904 . - P. 102-104 . Comrade General Meeting . " The Lviv Boyan " / / work. - 1902 . - № 256. - 14 ( 27). 11. - C. 3. Laba V. Creator marches Ukrainian Yaroslav Yaroslavenka : The life and career . - Lviv , 2000. - 48s .

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Lyudkevych C. A few words about the necessity founded ukrayinsko -n music conservatory in Ukraine / / work. - 1902 . - № 239. - 23.10 (5.11 ). - P. 1 - 2. - Signed : Art. People. Lyudkevych S. Research, articles, reviews , speeches / Compilation . , Editing, translation, notes and bibliography S. Shtunder . - T. 2. - Lviv : Publishing Kots M. , 2000. - 816 p. Mazeppa L., T. The path to Mazepa Music Academy in Lviv. - Vol 1: From the days of urban musicians to Conservatory (beginning of the century. - 1939) . - Lviv: Spolom , 2003. - 288 p. Music conservatory / / Ruslan. - 1902 . - № 94. - 28.04 (11.05 ). - P. 1 - 2. News. In case -based "music conservatory " / / Ruslan. - 1902 . - № 272. - 4 ( 17). 12. - S. 2-3. Pavlyshyn S. Western Musical Culture of Ukraine 's 1900-1939 / / Pavlyshyn C. From unpublished . - Lviv : Mir, 2010. - P. 8 - 85. Rusko "Falcon" / / work. - 1902 . - № 265. - 26.11 (9.12 ). - C. 3. Fedak S. Lyehaty approx. Mr. Cardinal Sembratovych / / Ruslan. - 1902 . - № 203. - 10 ( 23) . 09 . - C. 3. Cherepanyn M. Musical Culture of Galicia (late XIX - early XX century) : Monograph. - Kyiv Tower , 1997. - 328 p. Shtunder Stanislav S. Lyudkevych : Life and Work. - Vol.1 : 1879-1939 . - Lviv : PE " Binar -2000 ", 2005. - 636 p. Shuhevich B. In the case of musical conservatory founded / / work. - 1902 . - № 95. - 30.04 . ( 13.05 ). - C. 3.

УДК: 78.2У; 78.2; 78.70 Oksana Zakharchuk

Yarema Yakubiakʼs musicological and pedagogical activity in context of the noospheric doctrine. This article discusses noological aspects of the musicological process and pedagogical activity of the outstanding contemporary Ukrainian art critic Yarema Yakubiak. The urgency of this approach is proved by the gradual transition of our civilization to a new stage of development - the noospheric. Keywords: noology, spiritual and cognitive process, musicological method, pedagogical principles.

Ukrainian philosophical thought , highlighting the fundamental questions of nature, society and thought , that the laws of life, and affects the general laws of

2013/1(7) УКРАЇНСЬКА МУЗИКА 31 human interaction with the environment in the area of religion, science, art , etc. . These relationships apply ekstralohichni information and energy factors are shown in noolohichnyh fundamental human capacity as imagination , intuition , conscience , love and understanding. Their nature and interaction studies noolohiya - fundamental human sciences, Christian philosophical theory of mind and spiritual nature of man as the image and likeness of God. The spiritual essence of man is his noosphere . The main factor that shapes the noosphere is the human mind . According to Vernadsky's noosphere - a form of harmonious unity of material and ideal , matter and spirit. Cultural and Educational Perspective noolohiyi reveals life ( life - knowledge) human culture as her soul- spiritual nature ( moral, spiritual , spiritual, mental , spiritual and aesthetic ) and the organization of the lifestyle and learning certain rules and behaviors according to noolohichnyh accepted ideals. In the creative and volitional act involved not only logical , that abstract conceptual thinking , and reveals the qualitative characteristics of the human subconscious , creative impulses are not exposed to direct mind control. Exploring the structure of consciousness and the human mind, psychologists and philosophers have discovered categorial structure "subconscious - consciousness - the superconscious ." Stored in the subconscious of all human experience information . Actually subconscious mind is the basis of reproductive ie reproductive activity. Creativewilled human activity manifested mostly in the unconscious , automatic actions. By subliminal effects include creative inspiration , accompanied by the work of intuition ( sudden insight new idea ) that supposedly comes from a mind -independent push inside, and cases of immediate ( intuitive) task solution , which is not subjected to long-term conscious effort or involuntary references that seem to forget , or phenomenon of imitation. Of the total sum of knowledge accumulated during the life of a man , only a small part is in the center of consciousness at any given moment . Modern psychology has come to the conclusion that even thinking process can take place at an unconscious level. As for the works or works of imagination or intuition , the subconscious part is certainly essential and imperative. The action is carried out on the subconscious body- emotional level. A soul- spiritual level is characterized by the influence of the spiritual world per person and are on the transition to consciousness. This level of prayerful communion with God and her reverence for him. Superconscious lays the groundwork for creative , creative activity. This level is the mystical intuition , achieved spiritual enlightenment . It manifests itself active imagination - intuition - the mind, faith - conscience - freedom and love - joy - hope. Thus , consciousness is understood as creative and volitional human thought and knowledge is the interaction of consciousness and subconsciousness . Consciousness is the limiting notion of any human philosophy , including the philosophy of spirit noolohiyi . Actually to process subconscious activity - consciousness - superconscious implemented creative and strong-willed and smyslotvorchyy dynamism of the human spirit. A creative and strong-willed person's ability to govern its knowledge. The process of knowledge leads a person to knowledge. The present specific scientific knowledge is inherently creative and strong-willed spiritual activity. The man knows the whole body- soul- spiritual sphere. To evaluate and knowledge of the world , the essence of the phenomenon is crucial heart and conscience. Spiritual wholeness of mind through knowledge provides a sense of value and love. Spiritual knowledge

32 УКРАЇНСЬКА МУЗИКА 2013/1(7) depends on the person living the experience of intellectual and mystical intuition, as well as the direct revelation of God . In spiritual and cognitive processes of intellectual knowledge is inextricably linked to emotional. In other words, human cognition is a harmonious unity of spiritual and sensual sound . The need for self-expression and creativity will naturally inherent in man and is crucial for the characterization of bohopodibnosti . In the spiritual life of man is manifested her earthly and heavenly nature, being two entities . Modern spiritual and cultural revival in Ukraine foresees implementing national consciousness, life-giving and creative play - willed traditions and its values. Human desire for holistic knowledge is only ideal for universal omniscience - it is the prerogative of God. According to Yuri Lipa soul strong man should be solid, indivisible . This is the law of con- Deanne . We gradually realize itself as a powerful political and cultural, spiritual and ideological universe that comes alive, refreshed and enlightened . Ukrainian ideological tradition is an integral part of our national social life , mentality . It defines the relationship between man and the world , affecting their behavior , beliefs , preferences and choices of spiritual ideals. Ideological universalism is the main feature of the Ukrainian mentality, which is characterized by the rejection of narrow , abstract , detached from the life of philosophical theorizing. A peculiar type of philosophizing is characterized by unity of moral and spiritual and epistemological . For a long time the scientific methodology existed a clear distinction between rational (scientific ) and the irrational or irrational spheres of human knowledge. This opposition led to the impoverishment of science and scientific methodology. Scientific and philosophical outlook encompasses cognitive and intellectual level ( outlook ) and emotional- volitional ( attitude ). The fundamental ideological principles express the essence of thinking scientist. The scope and limits of human knowledge aptly called Nikolai Berdyaev : epistemology should be a philosophical anthropology, the doctrine of man. According to Berdyaev knowledge is a spiritual activity in existence, the inner light in existence. The task of modern researchers are incorporating into their scientific observations not only philosophical and ideological , but also spiritual and cultural roots of the intellectual activity. A striking example of the implementation of this methodological principle is the creative work of outstanding contemporary Ukrainian art of Jeremy Jakubiak . The purpose of this article is to highlight noolohichnyh principles in research and teaching activities Jakubiak . Considering his musicological heritage , specify a unique unprecedented in the history of Ukrainian musicology as a scientist on the basis of deep penetration in zhiznetvorchestvo composers , including Mykola Lysenko and Stanislaus Lyudkevych , made reconstruction of their creative style [13, 233 - 235, 237 - 239 ]. Note that this attempt came out surprisingly successful given the composers intentions Jakubiak . Describing the work of other composers Jakubiak trying to get into their inner world, which is taken into account in the analysis of musical and expressive means of their creative method . It is figurative and emotional content of the work largely determines the choice of musical expressiveness and scope of the actual shape is a reproduction of the inner world of the spiritual "I" composer. In some cases, a penetration Jakubiak in the spiritual world of the composer based on personal relationships. For example, very close contacts noted communication scholar of the

2013/1(7) УКРАЇНСЬКА МУЗИКА 33 founders of Western Ukrainian professional music Stanislav Lyudkevych , numerous meetings , discussions with Nicholas Kolessa or talking to Skoryk level supervisor PhD student , which later grew into true friendships human relations. Working on a special musical phenomenon or process Jakubiak initially showed some facts and describe them . It was the level of empirical knowledge. The next theoretical step musicologist studying their nature , explained their interdependence and interrelation . Jakubiak wanted to know the laws of phenomena and processes through mental abstraction and generalization. For example , considering the features creative style and Lysenko Lyudkevych scientist discovers effect of geographic factors territory of residence composers. In particular, the advantage of the epic scope of Lysenko explained Jakubiak sense of limitless contemplation steppe landscapes of Eastern Ukraine. Significant weight subjective expression in Lyudkevych , according Jakubiak, conditional interpenetration of Western culture and mountain scenery of the Carpathian region. The scientist also took into account the historical circumstances in which composers had to do . Paying attention to the interplay of both artists Jakubiak writes: "Of course, Lyudkevych used Lysenko experience but missed it with the light of his own critical reason " [13 , 225 ]. Musicologist aptly and subtly noticed that the work of the aforementioned composers opens new horizons Ukrainian spirit. Lysenko emphasizes " rozsiyanosentymentalnu " Ukrainian character , and Lyudkevych strengthens the role of management . It is necessary to point out the good observation regarding Jakubiak high moral duty , a sense of civic responsibility to the Ukrainian suspilnistyu , which forced both composers donate their creative talent and time. But thanks to their selfless cultural and educational activities had made significant progress in improving the musical and educational level of the Ukrainian people. In his extensive generalization Jakubiak states: "The appearance of Lysenko and S.Lyudkevych the cultural horizon of Ukraine was the objective law , albeit accompanied by local " anomalies ". The pattern is that at appropriate stages of social development as a general law of being , as elsewhere in Europe, the Ukrainian ethnic territory had to show the personality that would proynyavshys national idea was the mission of making our own national musical culture. "Anomalies " that the conditions and character education for both composers were completely opposite direction to eventually discovered their historical setting. This contradiction is truly amazing , and in this regard before us examples that diverge from the cultural and anthropological views on identity formation "[13 , 224 ]. So Jakubiak matched musicological understanding of the process as a holistic phenomenon , ie the act of cognition in its intellectual, spiritual, cultural and personal dimensions. The issue of the formation of the spiritual world of the individual in the educational process is one of the most painful and important in modern Ukrainian education. The current situation in the national education system is characterized by the lack of moral and spiritual, creative and cognitive smyslotvorchyh principles and guidelines. Rightly notes Vasyanovych Gregory and Mr. Onishchenko , " ... has a thousand years of cultural and educational and pedagogical thought in Ukraine is developing on the basis of Christian tradition and is associated with his momentous primary source - the Bible. For Ukrainian Christianity and Christian faith have become the moral and spiritual principles , spiritual and aesthetic values that

34 УКРАЇНСЬКА МУЗИКА 2013/1(7) drastically affected their outlook, way of thinking , moral and spiritual aspirations "[ 3,3 ]. Therefore the need for Christian revival Ukraine at various levels - social , political , social, psychological , and cultural and education is evident. It can be made on the basis of Christian philosophy noolohiyi - the spirit of philosophy and spiritual knowledge . [10] The basic conceptual framework and content of the noosphere education were formulated by Academician of the Russian Academy of Pedagogical Sciences Natalia Maslova . A number of researchers have devoted their work of philosophical reflection noosphere education, in particular - Oleg Anisimov , N. Antonenko , M. Konovalchuk , M. Couric , L. Nechyporuk , Arkady Ursula and others. The objective of the new integrated scientific concept of noosphere education is maximize the human potential. The objective and the means of achieving it should be consistent with the natural laws of the universe in view of the brain , mind and body. Given the rethinking of values around the world at the beginning of the third millennium noolohichna system of education and training becomes important in shaping human XXI century. But the most significant means of preserving our civilization as a unique phenomenon of cosmic awareness is a person 's own spiritual nature and returning to it. Discover the historic mission of education is the education of the spiritual, rational and fair man. At the core of human existence as intelligent spiritual beings is high culture and morality , that the unity of the Christian virtues of faith, hope and love. It should be noted that the revival of true spirituality will be possible provided a return person to person. The basis of a new pedagogical concepts underlying systemic position noosphere theory, which is based on principles of social peace, harmony , cooperation and spiritual tolerance. The motto of the modern Ukrainian scientific- pedagogical thought is " reasonable man to spiritual man ." The task of the teacher is teaching , along with the latest scientific advances, take care of the spirituality of their students , creating in them high moral qualities of patriotism , faith , justice , mercy , love of neighbor , the ability to forgive and others. , That instill Christian human values. Of particular note is pedagogical activity Jakubiak , which became clear indication noolohichnyh implementation of the principles of education - education education . These principles create a new system of spiritual ideals, which treat pedagogy as a science and an art. Actually, prytrymuyuchys fundamental principles of philosophical and pedagogical noolohiyi , Jakubiak stimulate intellectual development of the student's personality contributed to the enrichment of spiritual culture and self . At the core educational concepts Jakubiak on the principle - "from Homo sapiens to the spiritual man " and the purpose and objectives of its educational system was the formation and development of the spiritual world of the individual student. It should be noted that he was spiritually Jakubiak whole man and had noolohichnymy abilities rationality ( imagination - intuition - the mind ), ethics (faith - conscience - will) , aesthetics (love - joy - hope ). These beneficial qualities underlie mental, moral and aesthetic formation and human development. A musical art of preaching spiritual and aesthetic ideals of Truth - Good - Beauty, promotes the ennobling of the human soul . So Jakubiak raised the moral high ground in the students personal example of honesty , responsibility, fairness, principle , respect, restraint, humility, kindness , diligence , intellectual wealth , patriotism in general intelligence.

2013/1(7) УКРАЇНСЬКА МУЗИКА 35 The need to regulate the life and teaching in conformity with noolohichnyh Christian ideals and norms of conditional immortality of the human soul , the preservation of self-identity and self-identity of the spiritual personality , combined with God. Today, more Ukrainian teacher understands and acknowledges that Christian values are the salvation of the nation [4, 113]. Noolohichni principles of education - education - education does not contradict modern scientific and philosophical achievement. Spiritual life in its entirety encompasses knowledge as rational sphere. For the harmonious development of the spiritual world of the individual is necessary uniform development of all the above components. Actually harmony of mind, emotions and will provide active , energetic , dynamic person. Teaching experience shows that the unconscious mind , or crazy will not be the basis of identity formation. The key to becoming human is the harmonious unity of mind, emotions and will. Own spiritual identifies dominant intellectual , moral and aesthetic development of the individual. A person as noolohichna essence as soul- spiritual nature of man is not the biological factor and the result of purposeful striving for spiritual perfection , that soul- spiritual transformation, self-actualization and selfrealization. This educational process begins in childhood and lasts a lifetime. For Jakubiak as a scholar and teacher was inherent holistic view of man : is this composer , whose work it out, or student , whom he taught. Jakubiak into account various aspects of the spiritual universe of the individual, that is, its origin, nature, and purpose of life . Thus noolohichnyy approach to the educational process helped to shape the student inner spiritual stability. In this individualized approach Jakubiak into account not only the professional interests and level of student mental abilities , but also the essential personal characteristics of his personality, such as the level of general education , outlook, temperament , inclination for independent thinking and taking adequate decisions, moral principles , etc. . Jakubiak led around the stick measure, know thyself. Good communication Jakubiak was based on an awareness of the importance of the individual. This gave rise to the understanding of the behavior of the interlocutor , empathy, spivmyslennya , cooperation, trust and respect, taking initiative . The tone of the conversation balanced, calm , balanced with appropriate gestures, facial expressions, which emphasized the direction optimistic thoughts. Communication based on mutual respect and contributed well respected teacher among students and teaching staff , which differed Jakubiak integrity of his nature in all noolohichnyh dimensions. In summary, we can say that the ideological universalism as an essential feature of a typical Ukrainian mentality was creative credo of research and scientific and educational activities Yarema Jakubiak . This approach promotes the humanization of the creative process indicates universality of human consciousness and thought and , in general, the universality of man as a spiritual being. Anticipating the development of psychology in the twentieth century. , Doctor of Psychological Sciences , corresponding member of the Russian Academy of Education , Director of pedagogical innovations Slobodchikov Victor says: " If God allows, then, of course , there will be convergence of psychology, art and religion, even now , though careful, it happens. Paradoxically , but it is religious , especially Christian , look at a person can greatly help as much and defend a scientific psychology of swift transformation into practical magic , in fact, in parapsychology . Most importantly, we must remember that the Christian doctrine of man - a holistic look at it in all its totality , is the

36 УКРАЇНСЬКА МУЗИКА 2013/1(7) simultaneous vision of man in its origin, essence, existence and purpose. In respect of the interpretation of all other views on human (scientific , pragmatic , ethical , aesthetic , etc. ) are partial , and therefore untrue nature "[12 , 18]. Figure Yarema Jakubiak as creator and bearer of values of Ukrainian culture - is a universal figure of the scientist- musicologist and teacher, who showed their creative work efficiency of noolohichnyh principles for comprehensive scientific observations and deep conceptual conclusions and in shaping the moral, intellectual and aesthetic dominants spiritually rich creative personality . Oksana Zakharchuk. Yarema Yakubiaks musicological and pedagogical activity in context of the noospheric doctrine. This article discusses noological aspects of the musicological process and pedagogical activity of the outstanding contemporary Ukrainian art critic Yarema Yakubiak. The urgency of this approach is proved by the gradual transition of our civilization to a new stage of development - the noospheric. Keywords: noology, spiritual and cognitive process, musicological method, pedagogical principles. literature I. beh D. Spiritual Values in personality development / I. J. Bech / / Pedagogy and Psychology. - 1997. - № 1. - P. 124-129 . Vasyanovych GP Teaching Ethics: A Textbook / GP Vasyanovych . - Lviv: Norma , 2005. - 343 p. Vasyanovych GP Noolohiya personality : a manual / GP Vasyanovych , VD Onishchenko. - Lviv: Spolom , 2007. - 217 p. Zhukovsky V. Background education of the younger generation on the basis of Christian moral values / VM Zhukovsky / / Scientific Proceedings of Ostrog Academy. - 1999. - P. 113-115 . Zyazyun IA Beauty pedagogical action : Tutorial / IA Zyazyun , GM Sagach . Kyiv: Ukrainian -Finnish Institute of Management and Business , 1997. - 302 p. Ignatov, S. Spirituality as the transformation of human consciousness / S. Ignatov / / Stavropigiyska philosophical studies : Collected Works of musicology , psychology , education and philosophy of education / stop. OP Opanasyuk . - Lviv: Stavropigion , 2011. - Vol. 5. - P. 181-193 . - (ULTIMA RATIO). Karpenko IM spiritual ideals of the noosphere and cathartic nature of education / I. Karpenko / / Pedagogy and Psychology. - 1998. - № 2. - P. 48-53 . Kudryk L. Education in the context of educational paradigm noosphere / L. Kudryk , J. Surmyak , T. Turina / / Stavropigiyska philosophical studies : a collection of scientific works of musicology , psychology , education and philosophy of education / stop. OP Opanasyuk . - Lviv: Stavropigion , 2011. - Vol. 5. - P. 194-206 . (ULTIMA RATIO). Maslow NV Noosfernoe Education / NV Maslova . - Moscow: Institute holodynamyky , 2002. - 338 p. Onishchenko, VD Noolohichnyy categorial and structural synthesis of the fundamental theories of teaching / VD Onishchenko / / Pedagogy and Psychology of Professional Education. - 2000. - № 4. - P. 6-14 . Onishchenko, VD philosophy of spirit and spiritual knowledge: Christian philosophical noolohiya / VD Onishchenko. - Lviv : Logos , 1998. - 338 p. Glow M. spiritual potential of human / M. The luminescence . - IvanoFrankivsk: Play , 2001. - 203 p.

2013/1(7) УКРАЇНСЬКА МУЗИКА 37 Slobodchikov VI century Psychology 21 : prorochestva and prohnozы / VI Slobodchikov / / Questions of psychology. - 2000. - № 2. - P. 17-18. J. Jakubiak Mykola Lysenko and Stanislav Lyudkevych Monograph / J. Jakubiak / / - Lviv: the Shevchenko Scientific Society , 2003. - 263 p.

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2013/1(7) Kateryna Zahnitko

VOX ELECTRONICA in Lviv For the third time in Ukraine a series of action during the festival of electroacoustic music VOX ELECTRONICA ( February 28 - March 6, 2013 ), which was initiated by the Department of songs LNMA them. Lysenko . The main purpose of the festival was to present great potential experimental electro-acoustic music , promoting it in our area , creating optimal conditions for the exchange of experiences between artists from around the world . This year's festival was marked by an extensive program that includes concerts , multimedia installations, public lectures , workshops and conference Shares held indoors LNMA them. Lysenko gallery " Whirligig ", the Powder Tower, the Center for Urban History of East Central Europe, art club "New Noah's Ark". Opening the festival was held February 28 in gallery " Whirligig " with a press conference and ceremonial presentation of the project participants. The next day at Music Academy Michal Pavelek of the Krakow Academy of Music gave the first lecture «Super Collider in the electronic work to live " and on Saturday addressed the problems of using sensors in live electronic works, by the example of «Ephreia». Michal Pavelek is representative of a new generation of European composers who were successfully synthesized in his work the principles of academic thinking and the latest technological possibilities of musical science. Music by initiating contacts with Ukrainian and Belarusian participants of the program Gaude Polonia, which opens new perspectives for our young composers. Anyone can participate in the workshop for the project. On Friday evening, the first concert , which featured the works of Pierre Schaeffer , Gregory A. Mayrhofera , Jonas Marius Aareskyolda , Sergey Zelensky and Timur Chinar . Particular resonance among the audience caused a concert of electroacoustic works by young composers and ARS ELECTROACOUSTICA II, which took place on 2 and 3 March. This year was attended by composers - Students LNMA them. Zenon Lysenko Ermakov, Ilona Eltek , Yurko Pie and Miroslav Trofimuk . Symbolically, the concert opened Miroslav Trofimuk work that is not a composer and academic specializing in classical philology , but actively manifests itself in electronic music. Miroslav Trofimuk combines computer audio software with analog audio source, are experimenting with the sounds of the environment. Work "Pripyat" film is part of the album "Zone ", which is dedicated to the Chernobyl disaster. Work is inherent in the nature of the fluid , which diluted the short bursts that mimic the movement of water in the reservoir roadioaktyvniy . A good listener was perceived work Zeno Bachynskyi " Dialogues " for clarinet , cello , waves and Martin films. The successful combination of electronic effects with live performance sound filled with new colors , although it should be noted that the melodic perven inherent creativity Zeno Bachynskyi played in creating compositions crucial. His work "Morning" for Flute and young film composer Ilona Eltek has introduced his own poems , which had set up the audience for the mood : " The morning breaks in our dreams , a little coffee , morning news , wake up again and

2013/1(7) УКРАЇНСЬКА МУЗИКА 39 again live - in the silence of the universe, the noise of the city .... ". The composition can be heard in two versions - in the record and "in the flesh " , performed solo flute and electronics. Comparison solo instrument that expresses an individual start, overlapping noise of the city suggests a deeper reading of the idea of the work that bears the acute social implications. An entirely different direction had work Yurko Rolls " Underwater ostynato ." As the composer himself , this " music class" that his greatest thrills. A computer program , which is encoded by the score of work , reproduces interpretation. It is interesting that during the second performance of the day , this work may sound different, although the performer is the computer itself . At the end of the concert sounded Timur Chinar work , the composer of Istanbul , which he studied for a semester at the Krakow Academy. His kompozttsiya «in axe, per sewed" e "» Electronic "in the flesh " clearly demonstrated the complex processing of sound. In the audience is impressed , this was evidence of active discussion , which sounded comparing heard falling rocks rock , the beginning of the apocalypse, a shift of tectonic plates and others. The culmination of the festival was a concert ARS ELECTROACOUSTICA II, which brought together most fans of electro-acoustic music . Cold Room Powder Tower compensated relaxed atmosphere in the hall , which brought together both professional musicians and fans of modern music. The concert featured works by Anastasia Arhanhorodskoyi , Bjorn Andorra Drago, Marina Friedman, Michal Paveleka , Ostap Manulyaka , Ayane Yamanaka . The works featured in the performance of contemporary music ensemble " Constants ", created on the initiative of Ostap Manulyaka . The team actively participates in concerts and festivals to promote contemporary European and Ukrainian music. Premiere work " Intermedia " for electronics and fortep'yanno Ostap Manulyaka caused the biggest applause from the audience . Mystical injection sonority of noise superimposed on the color blotches piano . This combination created internal turmoil and tension, feeling unresolved issues hanging in the air, and listened work " in one go ". Amplification using the device on hand created double features - volume gradation and theatrical effect. Performing songs Bjorn Andorra Drage «Tisselur» film was made possible thanks to the creative collaboration of our Academy and University of Tromso (Norway). Despite the fact that the composition was written in 1999, its sound organically included in the program of the concert. Something sounded uncertain work by Marina Fridman "Mirror" for flute, clarinet , cello and electronics. Composer before performing voiced the main idea of the work - the recess in the inner world of man , " Reading of " a mirror of something deeper than the external display. However, the performance has not met expectations for uniformity sound had the effect of " zatyahnenosti " maybe this " contributed to " the lack of rehearsal with the performers. Highlight of the evening was the work of Michal Paveleka «Mittsu no yume monogatari» ( 2012) for two flutes and electronics that sounded performed by Natalie Kozhushko , Dmitry Hnativa and composer. The real event was a recital Fred Longer - Holm , held March 6 at the gallery " Whirligig ." Students were able to fully enjoy the extravaganza skilful improvisation that synthesized the elements of electro-acoustic music and free jazz .

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2013/1(7) Also at the festival was held musicological conference " Aspects of the operation of electronic music in the socio -cultural space ." The meeting began Marisa Wendt ( Germany), Yurko Pie ( Ukraine ), Timur Cinar (Turkey) , Marina Friedman ( Ukraine ), Catherine Cherevko ( Ukraine ) Ayane Yamanaka (Japan) , Ostap Manulyak ( Ukraine ). His impressions of festyvalVOX ELECTRONICA us shared one of its initiator , organizer , permanent member - Ostap Manulyak . 1. Now that the second festival is over, you can try to take stock and remember how everything rozpochynalosya . When the idea of creating electro-acoustic music festival in Lviv and by whom it was initiated ? In fact, at first did the idea of the Music Academy in only some electroacoustic music concerts , where were presented the classics of the twentieth century. in this area. There I had the idea in 2010, when the rate began to conduct electronic and computer music. Later, in discussions with prof. Victor Kaminsky , we decided to shift the focus to the presentation of works by composers students as part of a kind of encouragement in creating compositions in this course . In 2011, managed to organize two concerts under the program called ARS ELETTRONICA, and especially the first of these concerts, I think, had enough attention in the student community. In 2012 , this Initiative has grown to the scale of the festival, but then were called ARS ELETTRONICA. Many Lviv artists that name evoked associations with multimedia art festival in Linz , so this year we decided to slightly modify the title, stressing it was his musical direction. 2. What is western festival of electro-acoustic music and used the experience of colleagues or the organization VOX ELECTRONICA? In Western Europe there are many festivals of electroacoustic music , and especially should provide AudioArt in Krakow. That visit this festival in November 2011 inspired me to carry more than one concert a few concerts and lectures in the format of the festival. 3. Analyzing this year's festival that person do you most remember? Hard to say. Each day of the festival for me was unique and had its own peculiarities. Although probably the biggest surprise was proposed by Fred Lonberh - Holm complete the first section of his acoustic concert. Impressions of the fireworks unconventional methods of playing , sometimes likened to an electronic processing of sound, really incredible. That is not the most ways to play , after all most known from the work of Helmut Lyahenmana , Salvatore Sherrino et al. , And how he combines them and creates a dynamic and extremely interesting and spectacular composition. 4. Many festival participants like you trained in electroacoustic music studios of the Krakow Academy of Music , and which is still known research centers of electronic music in Europe ? Today there are hundreds, if not thousands, of studies of electro-acoustic music. However, some of them with a long history , continue to maintain their special person . Krakow, for example , focuses on the interaction of technology living artist to your computer via sensors. When it comes to Western Europe , there is a prominent place is still IRCAM. However, when it comes to global scale , in the plane of the technology probably begin to dominate experimental studies at Stanford and other universities in the U.S.. 5. In our Academy plans to create electronic office tools. At what stage of training ?

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2013/1(7) УКРАЇНСЬКА МУЗИКА 41 Specifically Electroacoustic Music Studios . In fact, in the framework of the cooperation between our Academy and the Faculty of Arts at the University of Tromso in Norway plans to create such schools in our Academy. Already defined hardware, which will be equipped with this studio , and now is working on an acoustic training room. 6. Do you plan to hold this festival next year, that there are problems in the organization ? Yes, I plan to . But the main problem is , as always, a lack of funding. In addition to providing the Polish Institute and the Embassy in Kiev with Polish artists at the festival, and a little of our business partners , VOX ELECTRONICA took place without any financial help from the state or other institutions. Although it should be noted that this year, coordinated cooperation Academy, Friends of MO " abyss ", " Whirligig " and the Center for Urban History of East Central Europe organization of the festival was much easier than last year. Thus , it is very bitter to me to say it , but I must admit that interests festival among the students of our academy is extremely low. In addition to a small group of enthusiasts from the Academy , the bulk of visitors are artists, not directly related to music and not professionally associated with the art of the people. Having a lot of impressions and positive emotions, we can confidently state that the festival went very well. Struck by a large number of foreign participants representing Germany, Poland , Turkey, Norway, Japan. It was nice and the fact that Ukrainian composers in his electroacoustic compositions do not yield to the professionalism of colleagues from abroad . With the introduction of LNAM them. Lysenko course electronic music opened up new vistas for experimentation for young composers . For the third consecutive year, led by Ostap Manulyaka our students have the opportunity to express themselves in writing of electro-acoustic music and present it to the festival. An important development is the organization Studios electronic tools at our Academy in cooperation with Norwegian colleagues . Creating optimal conditions for work in this area provides an opportunity to establish longer contacts with the West, which will expand the field of activity of our faculty and students. Thus we can welcome the musical community of the city of vivid emotions and special experiences that gave us festival VOX ELECTRONICA. It clearly showed the existence of innovative , experimental , ready for the challenges of modern music.

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2013/1(7)

Cinar Timur, Michal Pawelek, Ostap Manulyak at Lviv streets, march 2013

Ilona Eltek, Natalya Kozhushko

Ayane Yamanaka, Ostap Manulyak, Michal Pawelek, Yurko Bulka, Cinar Timur, Natalya Kozhushko

2013/1(7)

УКРАЇНСЬКА МУЗИКА

Ayane Yamanaka «Me Breathing» fragment of score

Fred Lonberg-Holm

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