scholarly journals Scientific Work of Iryna Dovgaliuk in the Field of History of Ukrainian eth- nomusicology

Ethnomusic ◽  
2020 ◽  
Vol 16 (1) ◽  
pp. 16-62
Author(s):  
Andriy Vovchak ◽  

The article offers an overview of 30 years of scientific activity of Lviv ethno- musicologist Iryna Dovhaliuk in the field of history of Ukrainian ethnomusicology. The multifaceted creation of the researcher has been revealed in the main prob- lematic and thematic areas, taking into account the time dynamics of the studio deployment. Among the considered directions: a) musical and ethnographic activity of Ukrai- nian folklorist Osyp Rozdolskyi: b) history of publication of Ukrainian folk music; c) folkloristic activity of Filaret Kolessa; d) history of phonography of Ukrainian folk music; e) folk music archiving (phonoarchiving). Peculiarities of the research style of Iryna Dovhaliuk, theoretical and metho- dological and applied tools of her historical searches have been traced. Emphasis is placed on the scrupulousness and diversity of source studies of Iryna Dovhaliuk, the focus on maximum objectivity and provability of scientific conclusions; on meticu- lous attention to the smallest facts on the research problem in order to trace its de- velopment as fully as possible and on this basis to comprehensively understand the general tendencies; on a wide amplitude of historical and theoretical generalizations of the processes of formation and development of Ukrainian ethnomusicology in a broad comparative context with similar processes in the world music folklore studies. Special emphasis is placed on the active scientific and socio-cultural position of the researcher, and in particular on the unique projects of Iryna Dovhaliuk for Ukrainian science to preserve and introduce into scientific circulation the musical and ethnographic heritage of Ukrainian collectors, in particular valuable collections of phonorecords of Ukrainian folk music of the first half of the twentieth century. The review has been prepared mainly on the basis of printed publications of Iryna Dovhaliuk, as well as the analysis of her research and promotion projects and events.

Author(s):  
Iia Fedorova

The main objective of this study is the substantiation of experiment as one of the key features of the world music in Ukraine. Based on the creative works of the brightest world music representatives in Ukraine, «Dakha Brakha» band, the experiment is regarded as a kind of creative setting. Methodology and scientific approaches. The methodology was based on the music practice theory by T. Cherednychenko. The author distinguishes four binary oppositions, which can describe the musical practice. According to one of these oppositions («observance of the canon or violation of the canon»), the musical practices, to which the Ukrainian musicology usually classifies the world music («folk music» and «minstrel music»), are compared with the creative work of «Dakha Brakha» band. Study findings. A lack of the setting to experiment in the musical practices of the «folk music» and «minstrel music» separates the world music musical practice from them. Therefore, the world music is a separate type of musical practice in which the experiment is crucial. The study analyzed several scientific articles of Ukrainian musicologists on the world music; examined the history of the Ukrainian «Dakha Brakha» band; presented a list of the folk songs used in the fifth album «The Road» by «Dakha Brakha» band; and showed the degree of the source transformation by musicians based on the example of the «Monk» song. The study findings can be used to form a comprehensive understanding of the world music musical practice. The further studies may be related to clarification of the other parameters of the world music musical practice, and to determination of the experiment role in creative works of the other world music representatives, both Ukrainian and foreign. The practical study value is the ability to use its key provisions in the course of modern music in higher artistic schools of Ukraine. Originality / value. So far, the Ukrainian musicology did not consider the experiment role as the key one in the world music.


1986 ◽  
Vol 19 (3) ◽  
pp. 301-322
Author(s):  
David Sturdy

Consider this statement: the practice of science influences and is influenced by the civilization within which it occurs. Or again: scientists do not pursue their activities in a political or social void; like other people, they aspire to make their way in the world by responding to the values and social mechanisms of their day. Set in such simple terms, each statement probably would receive the assent of most scholars interested in the history of science. But there is need for debate on the nature and extent of the interaction between scientific activity and the civilization which incorporates it, as there is on the relations of scientists to the society within which they live. This essay seeks to make a contribution mainly to the second of these topics by taking a French scientist and academician of the eighteenth century and studying him and his family in the light of certain questions. At the end there will be a discussion relating those questions or themes to the wider debate. There is an associated purpose to the exercise: to present an account of the social origins and formation of Pierre-Jean-Baptiste Chomel (botanist, physician and member of the Academic des Sciences) which will augment our knowledge of this particular savant.


Author(s):  
Renata Gozdecka

<p>Głównym założeniem niniejszego artykułu jest ukazanie dziejów pieśni fado oraz przybliżenie ich poetycko-muzycznej specyfiki. Stosownie do tego pierwszą część opracowania wypełni ogólny rys historyczny gatunku, drugą część natomiast poświęcimy omówieniu poetyki pieśni fado – rozpatrywanej od strony tekstu, cech muzycznych, z uwzględnieniem także roli najwybitniejszych śpiewaków.</p><p><strong>Fado – the Voice of Portugal</strong></p>SUMMARY<p>Fado – a characteristic genre of Portugal music which dates back to the mid-19th century – has gained importance and popularity for a several dozen years, not only in Portugal but in many other places in the world as well. Fado songs emanate with an emotional load and symbolic message especially due to the interpretations of expressive performers (such as Amalia Rodrigues or Mariza). Fado is, at the same time, one of the clearest genres in international circles of the world music and at the same time it is an image of the cultural identity of Portugal. It coexists with other genres of performative musical-poetic art, both popular and artistic ones; moreover as the matrix of identity of this country it is widespread among Portugal diaspora. The article presents the history of fado songs and their poetic-musical specifi city. The fi rst part of the study concerns historical description of the genre, the second part discusses the poetics of fado song – from the angle of its verbal text, music features, taking into consideration the most famous singers.</p>


Author(s):  
NATALIIA MYSAK

M. Hrushevsky is a remarkable figure in the Ukrainian history of the late 19 – early 20th century. In recent decades there have been a lot of papers devoted to his scientific and political activities, personal life, and analysis of his scientific heritage. However, M. Hrushevsky's relations with the Ukrainian youth are still one of the unsolved aspects. The main idea of the article is an attempt to analyze the scientist's interpretation of the role and key tasks of the students in the process of national self-identification of the Ukrainians. The aims are to explore the nature of M. Hrushevsky's relationship with young people in educational, scientific, private spheres of life, and to specify the professor's contribution in the case of material support of youth. The scientist was clearly aware of the exceptional role and mission of youth in the processes of the Ukrainian nation formation and construction of the Ukrainian state, and therefore he tried to promote its establishment and development in every way. He was convinced that the youth is the bearer of the nation's potential and that the future of the Ukrainians depends on its character and well-being. M. Hrushevsky was assured that his own task and the task of the public are the creation of the conditions for the young generation formation, the development of such qualities as initiative, independence, creativity, and responsibility. The main sphere of relations between M. Hrushevsky and youth was education. In 1894 professor headed the World history department at the philosophy faculty at Lviv University, with a special emphasis on Eastern Europe. He believed that the main condition of the formation of the Ukrainian youth is the creation of the ability to get an education in the native language, as well as the opportunity of being involved in the scientific activity. M. Hrushevsky read original lecture courses in Ukrainian, which were attended by students of different faculties. At the university, he also conducted the practical classes ("historical exercises"), during which he tried to stimulate students' scientific activity and develop their critical view of the world. Professor had the private lessons, too, during which he provided students with the consultations, listened to the research works, and estimated those. Moreover, he allowed students to use his library. M. Hrushevsky encouraged young people to study science. In the summer of 1904, with the assistance of the Shevchenko Scientific Society, he founded in Lviv the Ukrainian academic vacation courses. The last ones gave to the Ukrainian youth the opportunity to meet and communicate with the Ukrainian scientists from Galicia and the Dnieper Ukraine. M. Hrushevsky himself taught courses on the history of Ukraine. The professor encouraged students to work in the archives and collect materials for the research. He helped them to obtain permission to work in the archives in different countries and searched the financial support for such assignments. And, as an editor of scientific publications, he promoted publication of the articles by his students. Sometimes the relationship between professor and his students acquired a private character. The students often visited M. Hrushevsky's home with the aim to talk or report the news, accepted his invitations for lunch, dinner, and holidays. Some of them had a vacation in a professor's house in Kryvorivnia village. M. Hrushevsky always was sincerely concerned about the financial problems of Ukrainian students. For the financial support of the young scientists on the professor's initiative, several scholarship funds were established in the Shevchenko Scientific Society. M. Hrushevsky also initiated the fundraising for the construction of a dormitory for the Ukrainian youth – "Academic building" in Lviv. He curated the construction of this institution during 1904–1905. M. Hrushevsky, in every way, supported student organizations in various aspects of their activities, as well as the political initiatives of young people. For numerous times, he participated in various events organized by youth societies. The scientist entirely supported the students in the struggle for the opening of the Ukrainian University in Lviv. Thus, in the paper, it is proved that M. Hrushevsky was aware of the exceptional role of students in the formation of the Ukrainian nation and believed that youth is the basis of the intellectual elite foundation process. The relations between the scientist and the Ukrainian youth were close and diverse. In M. Hrushevsky's activities, the priority was given to the versatile political, scientific, moral, and material support of students. Keywords: M. Hrushevsky, youth, students, education, science, Lviv University, Academic building.


Author(s):  
Esy Maestro

The study of the music phenomenon has long been an important discussion due to its role in upholding the accretion of the history of literature of the world of music. Among the two poles music’s idealism, which is between European and American, they both have different opinion about multiculturalism. The multiculturalism in the Europe is the unification of the music culture with the lowest integrity level between the music cultures which possibly experience the multicultural process. It means, with the music culture base which just established like music classic, so that the multicultural process will cannot be seen easily from the music which recommended, because its interference usually dissolved is the music substance which intrinsically used, at rhythmic, melodies, form and others.  Meanwhile the multiculturalism phenomenon in the America will offers the explicit structures, which accurately occurs the powerful and influential multiculturalism process. This thing also based on the heterogeneous America’s people as the interference of many cultures by means of the difference music. The multiculturalism music in America also develop faster because in its accretion it influence with the political period and the crime-infested unsafe makes the countries which moves to America feels that they the same. So, it is not surprise if the performance of the African-American music or the America’s World Music will demonstrate the music multiculturalism process which actual and has been growth for a long time. Keywords: the music, multiculturarism, America and Europe


Author(s):  
Iryna Kovalenko ◽  
◽  
Olena Kril ◽  
Olena Korniychuk ◽  
◽  
...  

The experimental period in the history of immunology as a science can be attributed to the years of scientific activity of the world-famous bacteriologist and immunologist Jules Bordeaux, who was the first to experimentally prove the physicochemical nature of such immune reactions as agglutination, hemolysis, precipitation. He was also involved in revealing the nature of phagocytosis reactions and established the relationship between the virulence of the microorganism and the presence of a capsule and phagocytosis. Owing to the discovery of Jules Bordeaux, mankind became aware of the cytotoxic properties of blood serum. Bordeaux’s scientific heritage was the elucidation of the role of complement in immunological processes, which was proved experimentally during the work of a young scientist at the Pasteur Institute in the laboratory of I. I Mechnikov, who considered J. Bordeaux one of his favorite students. In collaboration with Octave Zhangou, the complement fixation reaction underlying Wasserman’s reaction was first proposed. Bordeaux is well known around the world for the «driving force» of immunity — the connection of antigen to antibody. He can be regarded as one of the founders of the method of serodiagnosis. Bordeaux was the director of the Pasteur Institute in Brussels for 35 years, the world’s only autonomous Pasteur Institute unrelated to Paris. Jules Bordeaux’s scientific legacy continued and became the basis for many epoch-making discoveries in medicine, including the explanation of the mechanisms of anaphylaxis, the study of blood clotting, the discovery of blood groups, etc. The theoretical substantiation of immunological reactions became the beginning of a new diagnostic direction in laboratory practice — immunoassay, which includes thousands of modern laboratory methods


2018 ◽  
Vol 21 (10) ◽  
pp. 37-53
Author(s):  
D. V. Arkhireiskyi ◽  
A. G. Venher

This article reveals problems of development of the department of the world history of the Oles Honchar Dnipro National University during last 100 years. The department began to form in 1918 when Katerinoslav university was opened. The world history researchers V. Evstafiev and M. Brechkevich became it’s first university lecturers, they formed potential basics of the research directions. During the fight with reactionary representatives in science and high school they were criticized and fired. The new generation of the department’s lecturers mostly consisted of youth, who had got education during revolutionary and after-revolutionary times. Teaching work became their main assignment, they were active participants in the struggle against “sabotage” on the historical front, reviewed the world history textbooks. Also they were monitoring implementation of the marxism methodology in the world history teaching. During the repressions which started in 1930th some of lecturers were fired and the departments’s head was arrested and then shot away. The historical department was liquidated in the second part of 1930th. At the ending of 1930th historical education at the university was resumed, respectively the department began it’s work again. The young lecturers, post-graduate students from Kyiv, Odesa, Kharkiv were hired. During nazi occupation the work was interrupted. The work resumption was in 1944, the department was headed by N. Ladizjenska who occupied this position before the occupation. Post-war years of the department’s work are characterized as high level of scientific activity, defense of masters’ thesis by the young lecturers, writing a number of scientific articles dealing the world history issues, which have never been published and now are kept in manuscripts. There was a World History museum at the department in 1940−1950th, founded by the head J. Rubin. At the beginning of 1950th the historical department was closed. The new stage of it’s work was related to 1967 when the department and the historical faculty was resumed. In 1970−1980th under the direction of department head the main scientific direction historical germanistics was based. Due to it’s work the department begun to publish the yearly scientific magazine «The German history issues». The department’s lecturers also worked through the problems of late Roman, American, English history. In 1990−2000th due to prof. S. Plohiy and S. Bobyleva the department became an acknowledged research center of the German diasporas in the Russian empire and Ukraine. The institute of Ukrainian-German historical relations was found at the department. The high scientific potential of the department’s lecturers was repeatedly confirmed by presentations on the conferences, published articles and monographs. Nowadays the department members are working through a number of important issues from German diasporas history, Bulgarian, Russian studies.


2021 ◽  
pp. 150-155
Author(s):  
L. Shemet

The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine. The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument. The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods. The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument. The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.


Author(s):  
Philip V. Bohlman

World Music: A Very Short Introduction looks at the history of world music and its many definitions. ‘World music’ is more than a marketing term for the music industry. During the Enlightenment, the idea of the ‘folk song’ encouraged European audiences to imagine music from around the world. Technology helped to create the ‘audio moment’—the transformation of sound into material which could be recorded and distributed worldwide. Throughout history, music has been used to express unity and national pride. World music both foregrounds and transgresses borders. Ideas in different cultures about world music, and indeed about music, are as diverse as ever.


1978 ◽  
Vol 37 (3) ◽  
pp. 445-455 ◽  
Author(s):  
Rajeshwari Datta

The socio-religious songs composed in village Bengal by the adherents of the mystical sect known as the Bāuls are of great interest to students of folk music and poetry, but they are of no less interest to a student of the history of the religions of Bengal. In his songs, the Bāul expresses his religious beliefs and experience, his view of life and of the world, his thoughts and emotions. They are his only form of worship; there is no treatise embodying the doctrines and practices of this sect. It is only in his songs that we can get a glimpse of what a Bāul is and what he believes in. Famous for their spontaneity of expression and charm of melody, their rustic language and imagery, these songs clearly bring out the various themes that together form the general body of Bāul thought. And there are threads of many religious traditions: tantric; Sahajiyā—both Buddhist and Vaiṣṇava; and Ṣūfī.


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