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Music Of Ukraine
Ukrainian music covers diverse and multiple component elements of the music that is found in the Western and Eastern musical civilization. It also has a very strong indigenous Slavic peoples, Slavic and Christians, Christian uniqueness whose elements were used among the areas that surround modern Ukraine. Ukraine is also the rarely acknowledged musical heartland of the former Russian Empire, home to its first professional music academy, which opened in the mid-18th century and produced numerous early musicians and composers. Modern Ukraine is situated north of the Black Sea, previously part of the Soviet Union. Several of its ethnic groups living within Ukraine have their own unique musical traditions and some have developed specific musical traditions in association with the land in which they live. Folk music Ukraine found itself at the crossroads of Asia and Europe and this is reflected within the music in a perplexing mix of exotic melismatic singing with chordal harmon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slavic Peoples
Slavs are the largest European ethnolinguistic group. They speak the various Slavic languages, belonging to the larger Balto-Slavic language, Balto-Slavic branch of the Indo-European languages. Slavs are geographically distributed throughout northern Eurasia, mainly inhabiting Central Europe, Central and Eastern Europe, and the Balkans to the west; and Siberia to the east. A large Slavic minority is also scattered across the Baltic states and Central Asia, while a substantial Slavic diaspora is found throughout the Americas, as a result of immigration. Present-day Slavs are classified into East Slavs (chiefly Belarusians, Russians, Rusyns, and Ukrainians), West Slavs (chiefly Czechs, Kashubians, Poles, Slovaks and Sorbs) and South Slavs (chiefly Bosniaks, Bulgarians, Croats, Macedonians (ethnic group), Macedonians, Montenegrins, Serbs and Slovenes). The vast majority of Slavs are traditionally Christians. However, modern Slavic nations and ethnic groups are considerably dive ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mixolydian
Mixolydian mode may refer to one of three things: the name applied to one of the ancient Greek ''harmoniai'' or ''tonoi'', based on a particular octave species or scale; one of the medieval church modes; or a modern musical mode or diatonic scale, related to the medieval mode. (The Hypomixolydian mode of medieval music, by contrast, has no modern counterpart.) The modern diatonic mode is the scale forming the basis of both the rising and falling forms of Harikambhoji in Carnatic music, the classical music form of southern India. Greek Mixolydian The idea of a Mixolydian mode comes from the music theory of ancient Greece. The invention of the ancient Greek Mixolydian mode was attributed to Sappho, the poet and musician. However, what the ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix ''mixo''- (μιξο-) means "half", referring to its resemblance to the Lydian mode. In Greek theory, the Mixolydian ''tonos'' ( ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, homophony. Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is opposed to " ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lirnyk
] The lirnyk ( Ukrainian language, Ukrainian: лірник; plural лірники - lirnyky) were itinerant Ukrainian musicians who performed religious, historical and epic songs to the accompaniment of a lira, the Ukrainian version of the hurdy-gurdy. Lirnyky were similar to and belonged to the same guilds as the better known bandura players known as kobzars. However, the lirnyk played the lira, a kind of crank-driven hurdy-gurdy, while the kobzars played the lute-like banduras. Lirnyky were usually blind or had some major disability. They were active in all areas of Ukraine from (at least) the 17th century on. The tradition was discontinued in Eastern/Central Ukraine in the mid-1930s, some lirnyky were seen in the regions of Western Ukraine until the 1970s and even the 1980s. Today, the repertoire of the instrument is mostly performed by educated, sighted performers. Notable performers of the lira include Mykhailo Khai, Vadym "Yarema" Shevchuk, Volodymyr Kushpet and Andr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kobza
The kobza ( uk , кобза), also called bandurka ( uk , бандурка) is a Ukrainian folk music instrument of the lute family ( Hornbostel-Sachs classification number 321.321-5+6), a relative of the Central European mandora. The term ''kobza'' however, has also been applied to a number of other Eastern European instruments distinct from the Ukrainian kobza. Construction The Ukrainian kobza was a traditionally gut-strung, lute-like stringed musical instrument with a body hewn from a single block of wood. Instruments with a staved assembly also exist. The kobza has a medium-length neck which may or may not have tied-on frets, which were usually made of gut. It was single-strung (sometimes also double-strung) and the strings were played with fingertips or occasionally with a plectrum threaded through a ring placed on the middle finger. History The term kobza is of Turkic origin and is related to the terms kobyz and komuz, thought to have been introduced into the Ukrainian la ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bandura
A bandura ( uk, банду́ра) is a Ukrainian plucked string folk instrument. It combines elements of the zither and lute and, up until the 1940s, was also often referred to by the term kobza. Early instruments (c. 1700) had 5 to 12 strings and similar to the lute. In the 20th century, the number of strings increased initially to 31 strings (1926), then to 56 strings – 68 strings on modern 'concert' instruments (1954).Mizynec, V. Folk Instruments of Ukraine. Bayda Books, Melbourne, Australia, 1987, 48с. Musicians who play the bandura are referred to as bandurists. In the 19th – early 20th century traditional bandura players, often blind, were referred to as kobzars. It is suggested that the instrument developed as a hybrid of gusli (Eastern-European psaltery) and kobza (Eastern-European lute). Some also consider the ''kobza'' as a type or an instrument resembling the ''bandura''. The term ''bandura'' can date itself to Polish chronicles from 1441. The hybridization, h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Duma (epic)
A Duma ( uk , дума, plural ''dumy'') is a sung epic poem which originated in Ukraine during the Hetmanate Era in the Sixteenth century (possibly based on earlier Kyivan epic forms). Historically, dumy were performed by itinerant Cossack bards called kobzari, who accompanied themselves on a kobza or a torban, but after the abolition of Hetmanate by the Empress Catherine of Russia the epic singing became the domain of blind itinerant musicians who retained the kobzar appellation and accompanied their singing by playing a bandura (rarely a kobza) or a relya/lira (a Ukrainian variety of hurdy-gurdy). Dumas are sung in recitative, in the so-called " duma mode", a variety of the Dorian mode with a raised fourth degree. Dumy were songs built around historical events, many dealing with the military actions in some forms. Embedded in these historical events were religious and moralistic elements. There are themes of the struggle of the Cossacks against enemies of different faiths ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lirnyky
] The lirnyk ( Ukrainian language, Ukrainian: лірник; plural лірники - lirnyky) were itinerant Ukrainian musicians who performed religious, historical and epic songs to the accompaniment of a lira, the Ukrainian version of the hurdy-gurdy. Lirnyky were similar to and belonged to the same guilds as the better known bandura players known as kobzars. However, the lirnyk played the lira, a kind of crank-driven hurdy-gurdy, while the kobzars played the lute-like banduras. Lirnyky were usually blind or had some major disability. They were active in all areas of Ukraine from (at least) the 17th century on. The tradition was discontinued in Eastern/Central Ukraine in the mid-1930s, some lirnyky were seen in the regions of Western Ukraine until the 1970s and even the 1980s. Today, the repertoire of the instrument is mostly performed by educated, sighted performers. Notable performers of the lira include Mykhailo Khai, Vadym "Yarema" Shevchuk, Volodymyr Kushpet and Andr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kobzari
A ''kobzar'' ( ua, кобзар, pl. kobzari ua, кобзарі) was an itinerant Ukrainian bard who sang to his own accompaniment, played on a multistringed bandura or kobza. Tradition Kobzars were often blind and became predominantly so by the 1800s. ''Kobzar'' literally means 'kobza player', a Ukrainian stringed instrument of the lute family, and more broadly — a performer of the musical material associated with the kobzar tradition. The professional kobzar tradition was established during the Hetmanate Era around the sixteenth century in Ukraine. Kobzars accompanied their singing with a musical instrument known as the kobza, bandura, or lira. Their repertoire primarily consisted of para-liturgical psalms and "kanty", and also included a unique epic form known as dumas. At the turn of the nineteenth century there were three regional kobzar schools: Chernihiv, Poltava, and Slobozhan, which were differentiated by repertoire and playing style. Guilds In Ukraine, kobzar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kobzars Kravchenko Dremchenko
A ''kobzar'' ( ua, кобзар, pl. kobzari ua, кобзарі) was an itinerant Ukrainian bard who sang to his own accompaniment, played on a multistringed bandura or kobza. Tradition Kobzars were often blind and became predominantly so by the 1800s. ''Kobzar'' literally means 'kobza player', a Ukrainian stringed instrument of the lute family, and more broadly — a performer of the musical material associated with the kobzar tradition. The professional kobzar tradition was established during the Hetmanate Era around the sixteenth century in Ukraine. Kobzars accompanied their singing with a musical instrument known as the kobza, bandura, or lira. Their repertoire primarily consisted of para-liturgical psalms and "kanty", and also included a unique epic form known as dumas. At the turn of the nineteenth century there were three regional kobzar schools: Chernihiv, Poltava, and Slobozhan, which were differentiated by repertoire and playing style. Guilds In Ukraine, kobzar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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