Skip to main navigation menu Skip to main content Skip to site footer
##common.pageHeaderLogo.altText##

2020: Art Spiritual Dimensions of Ukrainian Diaspora

Piano art of composers in the Ukrainian diaspora: genre-stylistic, educational and personological aspects: Chapter VI

DOI
https://doi.org/10.36074/art-sdoud.2020.chapter-6
Published
2020-12-13

Abstract

The piano art of the Ukrainian diaspora is a unique and interesting phenomenon. It is a component of the educational and cultural system abroad, an embodiment of performance mastery and compositional talent, where the key factor is the attraction to Ukrainian traditions. Thanks to the universality of the expressed forms, the piano art of the diaspora contributes to the entry of Ukrainian national culture into the global cultural space.

References

  1. Ajzenshtadt S. (2015) Leo Sirota i ego mesto v formirovanii japonskoi fortepiannoi kul’tury [Leo Syrota and his plase in culture formation] Istoricheskij, filosofskie, politicheskie i juridicheskie nauki, kul’turologija i iskusstvovedenie. Voprosy teorii i praktiki. Tambov: Gramota, no. 4 (54), ch.2, pp.16 – 21. (in Russian)
  2. A muzyka vichna (pres-sluzhba UMI). (2017) [Music is eternal]. Nova gazeta: ukrainskij tyzhnevyk. N’iu-Jork, 7 grud. no. 7(452). (in Ukrainian)
  3. Barvinsky V. (1932) A. Liufer, T.Mykysha i L.Sagalov [A. Lufer, T. Mykysha and L. Sagalov]. Novyj chas, 28 kvit., ch.93. (in Ukrainian)
  4. Wytwytcky V. (1996) Za okeanom: zbirka statej [Overseas]/ red.-uporiad. Yu.Yasinovs’kyj. L’viv, 132 p. (in Ukrainian)
  5. Ditchuk O.R. (2009) Rol’ Videns’koi fortepiannoi shkoly u formuvanni pianistychnoho mystetstva Ukrainy (Halychyna ta ukrains’ka diaspora pershoi polovyny XX stolittia) [Role of Vienna Piano School in Formation of the Piano Art in Ukraine (Galicia and the Ukrainian Diaspora of the First Half of the XX-th century). (Phd. Thesis). L’viv: L’vivs’ka natsional’na muzychna akademiia im. M.V.Lysenka, p.183. (in Ukrainian)
  6. Hluschuk T. (2006) Natsional’ni tradytsii funktsionuvannia fortepiannoi vykonavs’koi shkoly Ukrainy [National traditions of functioning of piano performance school of Ukraine] Teoretychni ta praktychni pytannia kul’turolohii : zb. nauk. st. / [red.-uporiad. T. V. Martyniuk. Melitopol’. Vyp. 22. pp. 136–139. (in Ukrainian)
  7. Zhuk L. (1994) Fortepianna tvorchist’ ukrains’kykh kompozytoriv na pivnichno-amerykans’komu kontynenti [Piano activity of Ukrainian composers on the North American continent] Ukrains’ka fortepianna muzyka ta vykonavstvo : styl’ovi osoblyvosti, zv’iazky z muzychnoiu kul’turoiu Zakhidnoi Yevropy: materialy naukovo-praktychnoi konferentsii (Asotsiatsiia pianistiv pedahohiv Ukrainy)/red.-uporiad. N.Kashkadamova. L’viv, pp. 43 – 45. (in Ukrainian)
  8. Zabara M. (2011) Fortepianni shkoly pershoi polovyny XIX stolittia ta Lejptsyz’ka konservatoriia [Piano schools of the first half of the XIX Century and the Leipzig Conservatory]. Kyivs’ke muzykoznavstvo. Kyiv. Vyp. 40. pp. 174-183. (in Ukrainian)
  9. Zahladjko A. (2019) Predstavnyky shkoly Teodora Leshetytskogho v koncertnomu zhytti Kyjeva 80-ch rokiv XIX st. [Representatives of Teodor Leszetycky’s school in the concert space of Kyiv in the 80s of the 19th century (on the stuff of periodicals)] Chasopys Natsinalnoii muzychnoii akademiji Ukrajiny imeni P.I. Tchajkovskogho, no. 2 (43), pp. 98 -117. (in Ukrainian)
  10. Zymohliad N. (2015) Ukrains’ka fortepianna shkola pershoi polovyny XX storichchia [The Ukrainian piano school of the 1st half of the 20-th century] Naukovyj chasopys Natsional’noho pedahohichnoho universytetu imeni M.P. Drahomanova. Seriia 14. Teoriia i metodyka mystets’koi osvity: Zbirnyk naukovykh prats’. Kyiv: NPU im. M.P. Drahomanova. Vyp. 17 (22). pp. 182 – 187. (in Ukrainian)
  11. Karas H. (2012). Malovidomi fortepianni tvory ukrains’kykh kompozytoriv-emihrantiv XX st. u SShA: pytannia navchal’noho repertuaru v klasi zahal’noho ta spetsializovanoho fortepiano. [Little-known piano works by Ukrainian emigrant composers of the 20th century: questions of educational repertoire in a class of the general and specialized piano] Naukovi zbirky L’vivs’koi natsional’noi muzychnoi akademii im. M.V. Lysenka. Zahal’ne ta spetsial’ne fortepiano u mystets’komu prostori Ukrainy. Seriia : Vykonavs’ke mystetstvo. L’viv: Spolom. Vyp. 27. pp. 328 – 338.
  12. Karas H. (2012). Muzychna kultura ukrainskoi diaspory u svitovomu chasoprostori ХХ stolittia [Musical culture of the Ukrainian diaspora in the world time space of the twentieth century]. Ivano-Frankivsk: Tipovit.1194 p.. (in Ukrainian)
  13. Kashkadamova N. B. (2017). Fortepianno-vykonavske mystetstvo Ukrainy. Istorychni narysy [Рianо performing arts of Ukraine. Historical Essays]. Lviv, 616 p. (in Ukrainian)
  14. Kashkadamova N. (2001). Fortepjanne mystectvo u Lvovi [The Piano Art in Lviv]. Ternopil: Aston, p. 26. (in Ukrainian)
  15. Kyivska fortepianna shkola. Imena ta chasy. Kolektyvna monohrafiia [Kyiv Piano School. Names and times. Collective monograph] Author of the proiect T. O. Roshchina, authors-order. T. O. Roshchina and O. V. Ryndenko, ed. O. V. Sakharova and O. E. Stepanyuk. Tchaikovsky National Music Academy of Ukraine. Kiev, 632 p. [in Ukrainian].
  16. Kovalska-Frait O. (2009) Symvolists’ki tendentsii u prohramnykh fortepiannykh tvorakh F. Yakymenka ta B. Liatoshyns’koho [Symbolism tendencies in programme piano works of F. Yakymenko and B. Liatoshynsky] Muzychna ukrainistyka: suchasnyj vymir. Kyiv; Instytut mystetstvoznavstva, fol’klorystyky ta etnolohii im. M. T. Ryl’s’koho NAN Ukrainy. Vyp. 3, p.52 (in Ukrainian)
  17. Kozarenko O. (2000) Fenomen ukrains’koi natsional’noi muzychnoi movy [Phenomen of the Ukrainian national musical language]. L’viv, p.153. (in Ukrainian)
  18. Кompozytor і poet Marjan Kuzan rozpovidaje pro svoiu tvorchist’, pro zaplanovanyj concert (1979). [The composer and poet Maryan Kuzan is talking about his creativity and the concert to be planning]. Svoboda, 10 zhovt., No230. (in Ukrainian).
  19. Kushniruk O. (1996) Rysy impresionizmu v ukrains’kij muzytsi (dzherela, proiavy, tendentsii rozvytku) [Features in Impressionism in Ukrainian music (sources, manifestations, development trends). (Phd. Thesis). Kyiv; Instytut mystetstvoznavstva, fol’klorystyky ta etnolohii im. M. T. Ryl’s’koho NAN Ukrainy (in Ukrainian)
  20. Labantsiv-Popko Z. (2008). Sto pianistiv Halychyny [100 Galician pianists]. L’viv: Naukove tovarystvo imeni T. Shevchenka. 223 p. (in Ukrainian)
  21. Lonchyna-Lisovska M. (2008) Diial’nist’ Ukrains’koho Muzychnoho Instytutu v Ditroiti [Activity of Ukrainian Music Institute in Detroit] Detroits’ki novyny: informatsijnyj chasopys ukrains’koi hromady. Detroit. Zhovten’, lystopad. no.10, 11 (502). p. 24. (in Ukrainian)
  22. Matsenko P. (1968) Taras Mykysha [Taras Mykysha]. Visti. Minneapolis – St. Paul, Minnesota, gruden’, no. 4(27). (in Ukrainian)
  23. Melnyk L. (1981) Circular Pieces [Musictrick]: 22 etudes for piano: A beginner’s primer in the technique of continuous playing. Stockholm: Edition Sellem. 33 p. (in English)
  24. Melnyk L. (2008) About the technique of continuous music. Retrieved from: http://www.lubomyr.com/piano.html (in English)
  25. Nedzvetsky M. (1968) Kompozytor V.V. Grudyn i joho tvorchist [ The composer V. Grudyn and his creativity] Visti. San Paulo, Min., USA, no. 2(25) .pp.2–7. (in Ukrainian)
  26. Novosiadla I. (2009) Fortepiannyj repertuar dlia ditej u tvorchosti kompozytoriv ukrains’koho zarubizhzhia: natsional’no-vykhovnyj ta dydaktychno-piznaval’nyj aspekt [Piano repertoire for children in the works of composers of Ukrainian abroad: national-educational and didactic-cognitive aspect] Visnyk Prykarpats’koho universytetu. Mystetstvoznavstvo. Ivano-Frankivs’k. Vyp. XV – XVI. pp. 115–124. (in Ukrainian)
  27. Novosiadla I. (2015). Fedir Yakymenko: portret myttsia u dzerkali epokhy [Fedir Yakymenko: portrait of the artist in the mirror of the epoch]. Musical Ukrainian Studies: European Contex. (Ed.). L. Oparyk. IvanoFrankivsk: Suprun V. P., pp. 112–123. (in Ukrainian).
  28. Pavlyshyn S. (1993). Marjan Kuzan [Maryan Kuzan]. L’viv, p. 125. (in Ukrainian).
  29. Pavlyshyn S. (2005). Peredmova [Introduction]. Turkevych S. Fortepianni tvory. Lviv, pp. 3–6. [in Ukrainian].
  30. Pavlyshyn S. (2004). Persha ukrainska kompozytorka Stefaniia Turkevych-Lisovska- Lukiianovych [The first Ukrainian composer Stefania Turkevych Lisovska Lukiyanovych]. Lviv: Bak, 160 p. [in Ukrainian].
  31. Propam’iatna Knyha Ukrains’koho Muzychnoho Instytutu v Amerytsi z nahody desiatylittia joho isnuvannia (1962) [Commemorative Book of the Ukrainian Music Institute in America on the occasion of the decade of its existence] / vydavnychyj referent UMI Ihor Sonevytsky. N’iu-Jork D.N.: East Side Press. 77 p. [in Ukrainian].
  32. Rudnytsky A. (1980) Pro muzyku i muzyk [About music and musicians] N’iu-Jork, Paryzh, Sidnej, Toronto. 336 p. [in Ukrainian].
  33. Rudnytsky A. (1963). Ukrainska muzyka: istorychno-krytychnyi ohliad [Ukrainian music: a historical and critical review]. Miunkhen: Dniprova khvylia. 406 p. (in Ukrainian).
  34. Rum’iantseva A. Yu. (2007) Rozvytok profesijnoi fortepiannoi osvity v Kharkovi u 40-90-kh rr. XX st. v konteksti politychnoi sytuatsii v Ukraini [Development professional piano education in Kharkiv in 40-90 years of the 20th century in a context of a political situation in Ukraine] Visnyk Kharkivs’koi derzhavnoi akademii dyzajnu i mystetstv . Mystetstvoznavstvo. Arkhytektura. no. 2. Pp. ..
  35. Rusnak Yu. (2019) Vplyv ievropejs’kykh tradytsij na formuvannia odes’koi pianistychnoi shkoly [Influence of European traditions on providing the foundation of Odesa piano school] Visnyk Natsional’noi akademii kerivnykh kadriv kul’tury i mystetstv. Kyiv: NAKKKiM. no. 3. pp. 393–398. (in Ukrainian)
  36. Sulim R. A. (2010). Fryderik Shopen I formuvan’nia ukrains’koi fortepiannoi shkoly [Friederick Chopin and the formation of the Ukrainian piano school]. Chasopys Natsional’noyi muzychnoyi akademiyi Ukrayiny imeni P. I. Chaykovs’koho: naukovyy zhurnal, no. 4, pp. 49-60 (in Ukrainian).
  37. Umryhina O. (2016) Rozvytok fortepiannogho vykonavstva v Ukrajini [Development of piano performance in Ukraine]. Problemy pidhotovky suchasnogho vchytelja. Uman: Umanjsjkyj derzhavnyj pedaghoghichnyj universytet, no. 14, pp. 324–330. (in Ukrainian)
  38. Fortepianni tvory ukrains’kikh kompozytoriv dlia molodi (2000) [Piano works of Ukrainian composers for youngers] / zibrala T. Bohdans’ka. Ternopil’: Aston, u 2-kh ch. (in Ukrainian)
  39. Frait O. (2013). Fortepianni albomy ta tsykly ukrainskykh kompozytoriv dlia ditei: istoriia i suchasnist: navchalno-metodychnyi posibnyk [Piano albums and cycles of Ukrainian composers for children: history and modernity: teacher’s Guide]. Drohobych: Redaktsiinovydavnychyi viddil Drohobytskoho derzhavnoho pedahohichnoho universytetu imeni Ivana Franka, 100 p. (in Ukrainian).
  40. Cherepanyn M. (2004) Viden’ i ukrains’ka muzychna kul’tura 1918 – 1944 rokiv [Vienna and Ukrainian music culture of 1918–1944]. Zapysky NTSH: pratsi muzykoznavchoii komisiji. T.CCXLYII/ red. O. Kupchyn’s’kyj. L’viv, 449 p. (in Ukrainian).
  41. Chornobay M. (2015) Zhanrovo-styl’ovi oznaky fortepiannoi tvorchosti kompozytoriv ukrains’koi diaspory XX – pochatku XXI stolittia [Genre and style features of piano creativity by Ukrainian diaspora composers’ of the 20th – the beginning of the 21st century] Naukovi zbirky L’vivs’koi natsional’noi muzychnoi akademii im. M.V. Lysenka. Vyp. 35, pp.139 - 147. (in Ukrainian)
  42. Yuziuk Z. (2010) Fortepianni zbirnyky dlia ditej ta iunatstva v tvorchosti pedahohiv-pianistiv Ukrainy ta ukrains’koho zarubizhzhia druhoi polovyny XX st. [Piano collections for children and youth in the works of pianists of Ukraine and Ukrainian abroad in the second half of the 20th century] Molod’ i rynok. no.5 (64). pp. 87–92. (in Ukrainian)
  43. Yamamoto Takasi. (2019) Leo Syrota: ievrejs’kyj pianist, kotryj liubyv Yaponiiu [A Jewish Pianist who loved Japan]. Tokio: Majniti synbuisa. 262 p. (in Ukrainian; translate from Japan)