PRINCIPLES OF LITERATURE AND MUSICAL ART INTERACTION OF THE UKRAINIAN DIASPORA DURING THE XX – EARLY XXI CENTURY

Abstract

The study presents the methodological foundations analysis of the interaction between music and literature of the Ukrainian diaspora in the period of XX – early XXI century. In particular, the article offers an example of analysis of such interaction on the example of Ukrainian diaspora bandura art. Fundamental in the methodological analysis of the art interaction, and in particular literature and music, are the forms of emigrant (diasporic) worldview – conservative (traditional), synthesizing (unifying), and transforming (experimental). They are manifested in various forms of foreign artists’ creative activity – editing (restoration) of ancient genres, their modification and metamorphosis. The concept of “meta-art” was used as the main methodological basis for the music and literature interaction analysis, which is aimed at finding mechanisms for a comprehensive analysis of the Ukrainian diaspora art within the historical stages (according to emigration waves) and within the territorial settlements that found its reflection in figurative-thematic, value-aesthetic, genre, stylistic priorities of artists and interpretation of their ideas and meanings. The levels of literature and musical art interaction are considered by the author of the article on the inclusion samples in the bandura repertoire of various genres arrangements of folklore, religious and spiritual creativity, “shevchenkiana”, and works based on the Ukrainian poems of the
XIX – XX centuries. Among the musical and folklore samples are epos (dumas, historical songs), domestic, humorous, lyrical songs, and the latest genres of works of the liberation struggle – songs of Sich riflemen, rebel songs. Among the spiritual and religious works are psalms and chants, kolyadkas and shchedrivkas, as well as religious and liturgical compositions by D. Bortnyansky, A. Hnatyshyn, M. Haivoronsky, M. Lysenko, D. Sichynsky, and other works arranged for bandura ensembles or chapels. Shevchenkiana bandura repertoire includes arrangements of folk songs and author’s works based on T. Shevchenko’s poems for solo bandura players and ensembles, recorded in music editions and sound recordings.
Examples of cooperation between composers and poets in bandura art (in particular, H. Kytasty and I. Bahriany) are analyzed separately.