_1735569872 1735569872 Bashkatova bashkatova@meta.ua Petro Tchaikovsky National Music Academy of Ukraine Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Oleg Korobov https://orcid.org/0000-0001-7820-1492 Коробов Олег 10 24 2024 142 144 10.31318/2522-4212.2024.19.319774 http://ethnomusicology.com.ua/article/view/319774 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Halyna Pshenichkina https://orcid.org/0000-0001-6107-4079 Пшенічкіна Галина Iryna Koval-Furchilo https://orcid.org/0000-0003-4048-9114 Коваль-Фучило Ірина 10 24 2024 140 141 10.31318/2522-4212.2024.19.319773 http://ethnomusicology.com.ua/article/view/319773 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Natalia Khomenko https://orcid.org/0009-0009-5403-5456 Хоменко Наталія 10 24 2024 137 139 10.31318/2522-4212.2024.19.319772 http://ethnomusicology.com.ua/article/view/319772 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Halyna Pshenichkina https://orcid.org/0000-0001-6107-4079 Пшенічкіна Галина 10 24 2024 135 136 10.31318/2522-4212.2024.19.319771 http://ethnomusicology.com.ua/article/view/319771 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Пам’яті Валентини Пономаренко (1955 – 2024) Olena Shevchuk https://orcid.org/0000-0002-0994-5858 Шевчук Олена 10 24 2024 131 134 10.31318/2522-4212.2024.19.319770 http://ethnomusicology.com.ua/article/view/319770 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Nadiia Popyk https://orcid.org/0009-0007-5337-5630 Попик Надія The relevance of this study lies in identifying how military discourse of Ukraine appears in song texts from different historical periods and analyzing them within the context of its modern state-building. The aim is to compare the narrative of the Cossack spirit through two songs: the historical folk song “Oh on the Mountain and the Reapers Reap” and its modern reinterpretation “#MOSKAL_NEKRASIVYI” by Ukrainian pop singer Jerry Heil. The study uses Kenneth Burke's theory of symbolic social interaction, focusing on key narrative elements: act, scene, agency, agent, and purpose. These elements are first explained literally and then generalized to reflect the rhetoric of military life. In both songs, the primary act is preparation for a possible battle. The agents and the settings consistently emphasize strength and readiness for an impending fight. The purpose is to reveal the enduring essence of Ukrainians, centered on the anticipation of the war. The modern reinterpretation closely follows the plot of the folk song but celebrates the bravery of “modern Cossacks”, referencing contemporary Ukrainian political figures. Since the song is officially “dedicated to the Armed Forces of Ukraine”, this can be viewed as a media-driven substitution of concepts. The analysis examines agency in both historical and modern contexts, focusing on the relationship between characters and their environment. Differences in agents lead to differences in the scene. The Cossack spirit is presented as a communal reflection on Ukraine’s current war time. In modern media, promoting such narratives requires both broad and specific imagery. Therefore, the concept of modern Ukrainians as "Cossacks" is emphasized. Future research should explore what features of modern Ukrainians are identified as Cossack’s ones and what reasons are for assigning non-military people a Cossack characterization. 10 24 2024 121 130 10.31318/2522-4212.2024.19.319768 http://ethnomusicology.com.ua/article/view/319768 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Olha Velichkina https://orcid.org/0000-0002-7048-7649 Вєлічкіна Ольга In this article I consider folk revivalism as socio-cultural phenomenon from a global perspective, bringing examples from various countries and different time periods. The “folk youth movements” on the territory of former Soviet Union are analyzed in parallel and in the context of the American and European folk revivals, and some cases of immaterial cultural heritage (ICH) treatment, in particular, in France, are brought into discussion. This perspective raises the question of definitions and delimitations of the revival phenomena. My intention was to open the theme of revivalism to the maximum and include quite remote (from our experience) cases and practices in order to give the reader an opportunity to consider this field as full of creative possibilities and new potential. I put the special accent on existing diversity of cultural practices and acceptance of such diversity in revival communities as a sign of their vitality. Secondly, I consider the relationship between folk revival and some ethnomusicological practices and theories. First, ethnomusicology today more and more often considers revival phenomena as its “field” of studies of music in and as culture. Second, current generation of ethnomusicologists see itself far enough from the neutral, academic, “cabinet” scientists and seek active involvement with communities that serve the object of their scientific interests. This trend, called applied ethnomusicology is advocated by many “big figures” in the field, such as Jeff Titon and Svanibor Petan, is now quite accepted and even acclaimed modus operandi of an academic ethnomusicologist. I argue that the same logic and motivation of musical folklore researchers in former republics of the Soviet Union brought to life the youth folk movement phenomena in these places. 10 24 2024 107 120 10.31318/2522-4212.2024.19.319767 http://ethnomusicology.com.ua/article/view/319767 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Oleksandr Kropyvnyi https://orcid.org/0000-0001-7601-7878 Кропивний Олександр The article presents the experience of developing and implementing a server infrastructure for storing digital audiovisual collections of Ukrainian musical folklore. Particular attention is given to the technical aspects of preservation, backup, and ensuring data accessibility during wartime. The proposed system is based on a mobile architecture that enables quick relocation and recovery of servers without administrator intervention. The implementation of the system relies on the use of the ZFS file system to ensure data reliability and integrity, as well as RAIDZ technology to protect against hardware failures. A key role is played by the application of the 3-2-1 backup principle, which involves creating multiple copies of data on different storage media, including in the cloud environment. For remote data access, the WireGuard protocol is used, providing secure VPN connections between users and servers. The proposed server infrastructure addresses key challenges faced by Ukrainian ethnomusicologists and cultural institutions in working with digital archives: storing large volumes of audiovisual data, organizing automated backups, and enabling prompt access to collections. A distinctive feature of the system is its scalability, allowing it to be used both locally and as part of a nationwide digital repository. The proposed approaches were tested using materials from the Laboratory of Ethnomusicology at the National Music Academy and private recordings of its staff. Practical results demonstrate the effectiveness of the developed infrastructure in preserving cultural heritage, especially under the devastating threats posed by war. 10 24 2024 96 106 10.31318/2522-4212.2024.19.319765 http://ethnomusicology.com.ua/article/view/319765 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Oleg Korobov https://orcid.org/0000-0001-7820-1492 Коробов Олег Multitrack recordings of song folklore are extremely relevant, as they provide important information for analyzing chants and their performance reconstruction. The funds of the Problematic Research Laboratory of Ethnomusicology in The Ukrainian National Tchaikovsky Academy of Music (UNTAM) have accumulated a considerable array of multitrack audio recordings over the past fifty years. Information about these materials has not received proper coverage within the ethnomusic community. The purpose of the article is to form the digital collection of multitrack recordings of song folklore (including digitized analog recordings) stored in the funds of the Kyiv Laboratory of Ethnomusicology. The source base consists of the recordings made by UNTAM staff and former students from 1980 to 2024. The main research methods are: historical approach, source research, interviews with the staff of the Laboratory of Ethnomusicology (the participants of the expeditionary trips), and direct observation during the fieldwork. The first stage in the forming of the multitrack audio recording collection of the Kyiv Laboratory of Ethnomusicology covers the period of analog cassette recording (1980-2005). These materials are extremely valuable as it was relatively easy to gather a singing group in a village back then. Moreover, the main informants were singers born before the Second World War or even before the First World War (in the 1910s and 1930s). They include various methods of recording folk polyphony: using several voice recorders, the moving microphone method, etc. The second stage, when the main array of multitrack audio recordings was accumulated, relates to the emergence of digital equipment and an economically affordable multi-microphone headset designed by the author (since 2009). More than 60 sessions conducted by the author partly or fully include the method of field multitrack recording with different microphones. The information about each expedition involving multitrack recording is presented in three tables at the end of the article (analog, transitional, and digital recordings). 10 24 2024 81 95 10.31318/2522-4212.2024.19.319760 http://ethnomusicology.com.ua/article/view/319760 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Oleg Korobov Жук Катерина The article examines wedding songs that are popular in one of the local areas of steppe Ukraine - the basins of the Orel, Vovcha, and Siverskyi Donets rivers. These lands are located on the border between Sloboda and Middle Naddniprianshchyna, and are therefore considered a transitional zone. Historians and archaeologists rightly define these two large regions of Ukraine as territories of later settlement by Ukrainians, so local ethno-cultural traditions are interesting from two points of view: how they are connected with the traditions of two neighboring regions, and what influence the historical events of recent centuries have had on them. In the context of the study of musical wedding and ceremonial traditions, the following questions naturally arise: to what extent and in what forms have the ancient ceremonial chants been preserved here; how historical circumstances, fluidity, and diversity of the local ethno-social environment influenced the content and melodic structure of wedding songs; what differences are observed in the musical forms of wedding chants of this area due to their functioning in a transitional ethno-cultural zone. In covering these issues, the author of the article relies on scientific methods and the experience of domestic researchers-typologists, applying the method of mapping musical forms in practice. The appendices to the article demonstrate the positive results of using, first of all, the typological method of research and mapping of ritual melodies, which is carried out for the first time in the outlined territory of Steppe Ukraine. The studied traditions include tunes of eight well-known wedding melodies typical of Naddniprianshchyna Ukraine. They are described by scholars on the basis of materials from neighboring areas. Local samples have certain structural differences, as well as peculiarities of territorial distribution, first established by the author through mapping. The zoning of the wedding melodies of the transition zone conveys the current state of their functioning, reflects the differences of the melodies in the context of this study, and leaves open the question of supplementing melogeographic maps with new song samples, generalizing them, and comparing the melodies of the transition zone with the wedding melodies of the entire Ukrainian territory. 10 24 2024 64 80 10.31318/2522-4212.2024.19.319758 http://ethnomusicology.com.ua/article/view/319758 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Yevhen Yefremov Єфремов Євген This article examines the wedding song and ritual tradition of the Ukrainian Polissya region, specifically the area located in the lower reaches of the Pripyat River and its tributaries – the Uzh and Teteriv rivers. These territories correspond to the northern part of the contemporary Kyiv region. Until recently, the wedding ritual system in this area retained numerous archaic elements, which are also evident in the wedding melodies. From the perspective of pitch organization, most wedding melodies exhibit notable uniformity: they consistently feature a narrow ambitus, with scales typically consisting of 3–4 pitches and incorporating a sub-fourth interval. However, the upper fourth pitch is not consistently present and is primarily used in ornamental variations of the melody. The tonal center and melodic anchor is the lowest tone of the scale, which invariably concludes each stanza with a sustained fermata. Wedding songs are performed during the ceremony collectively, utilizing the full intensity of female voices. The texture predominantly leans toward monophonic unison; however, due to the performers' inclination toward individual variation, heterophonic textures frequently emerge, often accompanied by drone-like elements and occasional dissonances. Another archaic feature of these songs is the conclusion of each stanza with "hukannia" (a vocal exclamation), characterized by a sudden shift in vocal resonance from chest to head and a leap upward, typically spanning a seventh or an octave. This distinctive pitch organization and performance style aligns closely with similar characteristics found in local calendar songs, including spring songs (vesnianky), Mermaid songs for Trinity, and harvest songs. The primary objective of this article is to analyze the wedding song repertoire through the lens of rhythmic and structural organization, as well as typological classification. The study reveals that the full array of local wedding melodies corresponds to the broader typological system of Central Polissya wedding music. A distinctive trait of wedding songs in this area is the predominance of binary rhythmic patterns over ternary ones. This binary preference facilitates extensive use of variation potential in both rhythmic structure and melodic-intonational realization. This inherent variability is further enriched by the dynamic and often unpredictable nature of wedding rituals, alongside the traditional tendency of local singers to apply ornamental variation. Together, these factors created fertile ground for the spontaneous transformation of certain ritual melodies, and even the emergence of entirely new textual and compositional variants. The article discusses several examples of such transformations. The study is complemented by the author's transcriptions of wedding melodies, collected from local residents between 1978 and 2019, through both independent fieldwork and participation in various folklore and ethnographic expeditions. 10 24 2024 50 63 10.31318/2522-4212.2024.19.319756 http://ethnomusicology.com.ua/article/view/319756 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Yarema Pavliv https://orcid.org/0000-0003-1273-0281 Павлів Ярема The proposed article highlights the creative activity of the renowned Hutsul fiddler Ivan Meniv ("Meniuk") (1910– 1984). The study encompasses: biographical information about the musician; an analytical review and genre classification of his repertoire; an ethnomusicological analysis of selected multi genre samples recorded from the fiddler; a characterization and comparison of the performance manners practiced by I. Meniv. Parallels are drawn between various interpretations of works within the same genres, identifying the common and distinctive qualities of playing among representatives of a single tradition. Based on a comparison of older and newer performance manners, the article substantiates I. Meniv's inclination toward adapting his interpretations of the "Hutsulka" dance to the contemporary artistic and stylistic norms of his time, as well as the evolution in tonal structuring and performance techniques of this dance. Equally significant is the role of I. Meniv in preserving and transmitting to younger generations the thematic elements and artistic stylistic aesthetics of rare genres within the Hutsul fiddler tradition. The author posits a hypothesis regarding the transformation of a significant corpus of Hutsul dance-song kolomyika melodies from the "dance" genre group into the "song" genre group. Emphasis is placed on the value of preserved samples of these melodies performed in the ancient style, which were recorded by the music folklorist M. Tymofiiev from I. Meniv in 1975. Ivan Meniv developed as a musician within the context of a robust instrumental tradition that, in the second quarter of the 20th century, was undergoing active genre functional and aesthetic stylistic transformations. He taught himself to play the violin at the age of seven or eight and gained his first practical experience shortly thereafter, accompanying caroling groups. In the 1930s, I. Meniv began his career as a fiddler and kapellmeister, perform at weddings and other celebrations in the villages of the Kosiv district, Ivano Frankivsk region, until the onset of World War II. For more than a decade, the Meniv family lived in hiding due to Ivan’s involvement in the Ukrainian Insurgent Army (UPA), where he served as a medic under the pseudonym "Skrypka" ("Violin"). After leaving the underground, I. Meniv, together with his wife and son, moved to Kolomyia. In this city, they led a highly productive life. The fiddler worked in a municipal musical instrument workshop, significantly expanding his circle of musician acquaintances. Simultaneously, I. Meniv resumed performing at weddings. His musical activities extended across Kolomyia, Kosiv, Nadvirna, and Verkhovyna districts and, less frequently, to certain villages and towns in the Ivano Frankivsk, Chernivtsi, and Ternopil regions. I. Meniv was sought after by fiddlers from the villages of the Kosiv district as a leading expert and master performer of the traditional Kosmach Brustury repertoire. Among the most notable multi instrumentalists who adopted examples of traditional ethnomusical works and performance manners from I. Meniv were Ivan Labachuk ("Shevchuk") (1927–2009), Mykola (born 1944) and Yuriy (born 1951) Danyshchuks ("Palagniuks"). 10 24 2024 31 49 10.31318/2522-4212.2024.19.319752 http://ethnomusicology.com.ua/article/view/319752 Problems of music ethnology PE 2522-4212 12 30 2024 19 10.31318/2522-4212.2024.19 http://ethnomusicology.com.ua/issue/view/18816 Iryna Klymenko https://orcid.org/0000-0002-2462-6599 Клименко Ірина Mariana Markhel https://orcid.org/0009-0008-0315-3340 Мархель Мар’яна The opposition ‘friend or foe’ is one of the criteria by which certain human communities separate themselves from others. The ‘own’ gather around a certain centre or territory. This principle also applies to the field of ethnic music. The topic has become relevant in connection with modern migration of representatives of different ethnic groups and has become the subject of scientific discussions. However, in traditional culture, the problem of ‘friend or foe’ was also understood at the internal level, in the relations of regional subgroups of the same ethnic group. During ethnographic fieldwork in Polissya, a region located on the northern border of the Ukrainian (linguistically) ethnic territory, residents of adjacent loci still often emphasise that their language and songs are different from those of neighbouring areas. Such relations are especially characteristic of Polissya, known for its good preservation of ancient layers of traditional culture (including relics of ancient ritual music) and for the fine division of the territory into cultural areas. Linguistic and melogeographical maps, whose isolines correlate with archaeological divisions of ancient cultures, allow us to ‘lower’ the chronological bar for the formation of certain Polissya territorial communities to the times of tribalism and the princely era. The article examines the lands on the right bank of the Prypiat River, in the sector of the lower reaches of the Styr (Pinshchyna, administrative centres of Pinsk and Zarichne) and Horyn (Nyzhne Pohoryn, administrative centres of Stolyn and Dubrovytsia). These two loci are highlighted in the Atlas of the Ukrainian Language (1988, vol. 2). Field notes by Iryna Klymenko in the 1980s and 1990s and 2010s The article examines the lands on the right bank of the Prypiat River, in the sector of the lower reaches of the Styr (Pinshchyna, administrative centres of Pinsk and Zarichne) and Horyn (Nyzhne Pohoryn, administrative centres of Stolyn and Dubrovytsia). These two loci are highlighted in the Atlas of the Ukrainian Language (1988, vol. 2). Iryna Klymenko's field recordings of the 1980s and 1990s in these areas show that the world of women's ceremonial songs (vesnyanky (call songs), vesnyanky (tank songs), bush songs, harvest songs, and wedding songs) in these two neighbouring territorial entities was distinctly opposed: the women's repertoire was a clear cultural marker of each of the former ‘tribes’. Thus, these two loci correspond to the opposition ‘our own - alien’. The song repertoire of local wedding ceremonies is less contrasting: four common rhythmic types of wedding melodies were found in the two loci. However, there are still more contrasting features: six more rhythmic types are known in the Pinchuk region (in total, Pinchuks have 10 types of melodies), which Pohorynnia does not know. The sound content of the same types of wedding rhythmic compositions in the two communities is also contrasting - they use different sound scales. The melodies of the Pinshchyna are characterised by a tertian basis, while the melodies of Pohorynnia are based on a quintal sound system. The article illustrates these differences with numerous examples and localises them on a typological map. Nevertheless, the ‘repertoire border’ between these traditions is not impenetrable. Cultural contacts between the inhabitants of neighbouring territories have been recorded, i.e. stylistic influences directed from Nizhne Pohoryn to Pinsk. For example, the repertoire of several village violinists of the southern Pinsk region (former Zarichne district) included, in addition to the tertiary melodies of ‘their tribe’, also neighbouring quintet melodies. This was facilitated by the itinerant nature of certain types of rural music - caroling, accompanying weddings - outside of their ‘own’ environment, in neighbouring villages. The wider geography of the violinists' musical activity led to the filling of their repertoire with “foreign” melodies. Probably, the process of their assimilation went ‘from violinist to violinist’ (similar to the way dance music spread, but on a much smaller scale). The cultural products of the repertoire assimilation were wedding songs with the verse bases V*6, V*553 and V*53. At the end of the article, the ‘internal’ cultural relations of former neighbouring tribes are commented on in the context of the macro-arealogy of certain song forms. This view opens up new angles and perspectives for the study, in particular, provides relative chronological guidelines for the history of the formation of certain phenomena of song morphology. 10 24 2024 6 30 10.31318/2522-4212.2024.19.319749 http://ethnomusicology.com.ua/article/view/319749