Bandura jak istoryčnyj fenomen:
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| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Ukrainian |
| Veröffentlicht: |
Kyïv
IMFE
2013
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache |
| Beschreibung: | 447 S. Ill., Kt. |
| ISBN: | 9789660267046 |
Internformat
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| 300 | |a 447 S. |b Ill., Kt. | ||
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| 337 | |b n |2 rdamedia | ||
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| 500 | |a In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache | ||
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| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027167377&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
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| 942 | 1 | 1 | |c 784.19 |e 22/bsb |g 477 |
Datensatz im Suchindex
| _version_ | 1804151998157684736 |
|---|---|
| adam_text | Зміст
Переднє слово
...........................................................................................................5
1.
Бандура як предмет органологічних досліджень
.......................................12
1.1.
Бандура у працях органологів та майстрів-бандуристів
ХІХ-початку
XXI
століть
.......................................................................12
1.2.
Бандура в сучасних лексикографічних джерелах
....................................50
1.3.
Походження термінів «кобза» і «бандура»
..............................................54
2.
Історичні прототипи бандури
........................................................................64
2.1.
Ліроподібні інструменти
...........................................................................67
2.1.1.
Слов янські ліроподібні гусла: морфологія і генеза
.....................67
2.1.2.
Огляд писемних джерел
...................................................................79
2.1.3.
Вихідний прототип ліроподібних гусел:
етнокультурна взаємодія
..................................................................80
2.1.4.
Морфологія типологічних аналогів до слов янських
ліроподібних хордофонів
.................................................................89
2.2.
Цитроподібні інструменти: псалтирі
вертикального способу тримання
.............................................................96
2.2.1.
Писемні та лексичні джерела
..........................................................96
2.2.2.
Іконографічні джерела
XI-XVIII
століть
......................................107
2.3.
Лютнеподібні інструменти
......................................................................120
2.3.1.
Між Заходом і Сходом
....................................................................120
2.3.2.
Європейські лютні
IX-XVII
століть
..............................................127
2.3.2.1.
Західноєвропейські інструменти-гібриди
XVI-XVII
століть і питання приструнків
........................127
2.3.2.2.
Лютнеподібний інструментарій Київської
та Московської Русі
...........................................................137
3.
Еволюція інструмента в кінці
XIX -
на початку
XXI
століть
...............146
3.1.
Від традиційної до академічної бандури
...............................................151
3.2.
Становлення та розвиток інструмента академічного типу
...................161
3.2.1.
Від діатонічної до «хроматичної» бандури
..................................161
3.2.2.
Академізація харківської та київсько-чернігівської
діатонічних бандур
.........................................................................166
3.2.3.
Відродження діатонічної бандури в Україні
у 1980-х
-
2010-х роках
.................................................................203
4.
Генеза бандурного виконавства: спадковість духовної традиції
..........211
4.1.
Музичний інструмент у ритуалі
..............................................................212
4.2.
Огляд іконографічних та лінгвістичних джерел
...................................227
4.2.1.
Прадавня символіка образу козака-музиканта
у контексті атрибутики народних картин «Козак Мамай»
.........227
4.2.2.
Походження епоніма «козак Мамай»
...........................................246
4.3.
Дума та євразійська епічна традиція
......................................................256
4.3.1.
До генези терміна і жанру дума
...................................................256
4.3.2.
Манера інтонування, принципи формотворення,
роль інструментального супроводу
..............................................261
4.3.3.
Ладо-інтонаційний комплекс: до походження
«хроматизму» в епічних жанрах
..................................................270
4.3.4.
Дума і форми східної монодії
.......................................................278
4.3.5.
Українська епіка, коломийковий
архетип
і
троїста музика: питання витоків
..................................................285
Післямова
..............................................................................................................298
Аннотация
.............................................................................................................299
Annotation..............................................................................................................311
Перелік ілюстрацій
..............................................................................................322
Картографічний додаток (схеми
№1-3).............................................................332
Ілюстративний додаток
........................................................................................335
Список скорочень
.................................................................................................383
Покажчик імен
......................................................................................................385
Література та джерела
........................................................................................397
Annotation
The research of
bandura
as a historical phenomenon in musicology is the first
attempt of a comprehensive study of the history of Ukrainian epic tradition musical
instrument during the long period of its establishment, formation and development.
Bandura
as the subject of research in organology. The analysis of
bandura
study state in the works of classic organology of late
XIX -
early XX
с
has revealed
two views on the origin and development of the instrument. The first view is presented
with concepts of A. Famintsyn and C. Sachs. Russian organologist was the first to
discover that the lute-like bandura s sound-producing manner was unlike Lute s. This
sound-producing manner was adopted from zither-like gusli. C. Sachs suggested a con¬
cept of bandura s connectedness with the world of Iranian hybrid-type string-plucked
instruments. In organology the A. Famintsyn s discovery was laid into foundation of
famous Ukrainian and Russian organologists conceptions (M. Lysenko, F. Kolessa,
H. Khotkevych, A. Humenyuk, K. Vertkov, L. Cherkas ky, M. Khay, V. Kushpet and
others).
The other group of authors (K. Cheremsky, S. Lastovych-Chulivs ky, V. Yemets,
Z. Shtokalko, V. Mishalov) keeps on treating
bandura
as a lute-like instrument con¬
sidering the instrument s shape to be the dominant feature in determining its type.
The lute-like shape is a minor feature: while determining the instrument type, the
main indicator should be the mode of play and the manner of holding (as the features
of national instrumental tradition) rather than its shape. Therefore
bandura
should be
classified as a zither-like lute-shaped instrument with a plucked manner of sound-
producing. Its index in Hornbostel
-
Sachs s systematics should be settled in the way
of board-zithers with resonator body s features combining, which are played with
plectra
-
artificial or natural nails (index 314.122-b), and the kobza s
-
necked and
boxed lutes (index
32
1
.32),
that has to be the following
-314.122-6 + 321.32.
Original prototypes of
bandura. In
the genesis of Ukrainian
bandura
three dif¬
ferent chordophone types were involved: lyre-, zither-, lute-like instruments, while
their influence on
bandura
was not equal. On the territory of ancient Ukraine existed
lyre-like chordophones
-
lyres of Scythian (eastern) type, rather than Greek type as
it was considered by today. They are witnessed by an archaeological artifact of IV
с
В. С.
(Sakhnivka diadem) and they confirm the Ancient-Iranian genesis of Ukrainian
medieval lyre-like instruments (plot
3.1).
From Scythian type lyres derives lyre-like
gusli of vertical holding manner which were formed in the medieval (VI-XII) in the
East-Slavic world (plot
1 ).
From the territory of ancient Ukraine they were spread to
the territory of the whole medieval Europe (modern Poland, Northen Russia, Ger¬
many, Great Britain, Denmark, Norway, Italy, Spain). The proof of their existence
on the territory of ancient Ukraine is the find of the archaeological Zvenyhorod gusli
fragment of
XII
c. from the Kingdom of
Galicia -Volhynia
(town of Zvenyhorod
modern Lviv region). Gusli had their ethno-territorial varieties in the Novgorod
Rus
(XI-XIII) and
Pomerania
(medieval Poland,
XIII).
By the fragment of the upper part
of gusli I managed to restore its shape, morphology and the manner of holding (plate
36).
The find of Zvenyhorod gusli, which has been unknown to researchers by now
(K. Yazhdzhevski, V. Povetkin), helped to learn its migration routes from the territory
311
of ancient Ukraine to the West and the North (West Slavic world, Scandinavia) rather
than vice-versa as V. Povetkin used to consider.
This type of ancient Iranian genesis instruments has served as the earliest proto¬
type that laid into the foundation of
bandura
forming. From that type of instruments
bandura
adopted the vertical holding manner and the Scythian-Iranian name (pandzh-
thor/pandora/pandura/bcmdura) that has been carried through ages until now by an
oral Ukrainian tradition. The reverberation of the Scythian name of the instrument
-
pandzhthor («five strings») has conserved in the Lebian language of kobzars as the
Ancient Iranian (or even more profound
-
Indo-Iranian) substratum («p yandzha»,
«piyandzha»
-
five, «panzhatko»
-
friday (the fifth day of the week), «pedzhanyy»
-
the fifth).
Zither-like instruments: psalteries of the vertical holding manner. Before the
Kyiv period (early X c.)
Polanš
tribes possessed a 8-string instrument with a flat
resonator box that indicates on its relevancy to the zither-like type (like the medieval
«pisnevets»), which was nominated with an Arabian name
«al ud»
by Arabian author
Ibn Dastah (Ahmad Ibn Rustah). Other Arabian authors
(AI Bekri)
remarked that this
instrument had no analogues in the Arabian world. Among the musical instruments
of the lands of ancient
Rus
there existed several varieties of vertical holding manner
zithers
-
triangular, rectangular and trapezoidal shape (of bigger and smaller sizes);
board-like, boat-like hybrid-instruments, separate varieties of which have experienced
further development in subsequent periods. One of these varieties are the big and
small triangular vertical holding manner psalteries, images of which preserved in Pol¬
ish (of ancient Ukrainian origin) and late medieval Novgorod book miniatures. The
other one is zither-like vertical holding manner instrument in the shape of stretched
triangle
-
pisnevets
(XII
c.) with the long and short strings attached to it one-sidedly
(as on
bandura). In
the process of historical evolution it became one of the original
prototypes of traditional Ukrainian
bandura
formation (plot
3.6).
The vertical holding manner of Ancient Ukrainian zither-like instruments
(XII -
first quarter of
XVIII
c.) had been finally formed in the age of Ukrainian medieval and
in the age of Baroque it became the dominant feature of Ukrainian national-instrumen¬
tal zither tradition (the psaltery of «A Musical Grammar» by M. Diletsky, Sosnytsky
irmoloy
XVIII
c, folk murals «Cossack Bandurist» (the early
XVIII
с
plate
68
a, b;
97).
This is what differentiates this feature from the Russian one, which experienced
great influence from Finno-Ugric and Turk-Tatar tradition where the holding manner
of the zither-like instruments (gusli) has been horizontal long since.
The origins of bandura s sound producing manner date back to ancient Ukrainian
medieval performing tradition on instruments like psalteries, holding manner of which
was vertical (plot
3-3.4).
It was inherited from lyre-like gusli of medieval East-Slavic
world (plot
3.2).
which trace their genesis from the Scythian-type lyres (plot
3.1).
The earliest kind of ancient Ukrainian psalteries are believed to be the instruments
(of XI-XII c.) in the shape of a large rectangular
trapezoid,
that were resting on the
floor while played, and the sound was produced by means of a single hand (psalteries
from the murals «Musicians» from Kiev Saint Sophia s Cathedral, XI c, Navahrudak
XI-XII c.) (plate
57
a, b). The development of such psalteries ceases after
XII
с
they
are displaced by trapezoid-shaped instruments of smaller dimensions (instruments
from «Musical Grammar» by M. Diletsky and Sosnytsky irmoloy plate
68
a, b).
312
The other kind of ancient Ukrainian psalteries in the shape of the large-sized
stretched triangle had no analogues among the simultaneously existing West-Europe¬
an instruments (gusli of Davyd Psalmospivets from the Cracov Bible of XV
с
(plate
72)
and the Houdets from the Novgorod Gospel of
XVI
с
(plate
60).
An unique ar¬
chaic transitional-type instrument (with additional treble strings called «prystrunky»
attached to its body) was the pisnevets, known by its medieval descriptions of
XII
c,
the image of which has been preserved by the end of
XVI
c. (plot
3.6).
For the East-Slavic medieval psalteries of vertical holding manner two simultane¬
ously existing sound producing modes were proprietary:
1.
The performer holds the instrument with one hand and produces the sound with
the other one (Saint Sophia s Cathedral Kiev, Navahrudak) (plate
57
a, b;
63; 65; 70;
71),
2.
The performer plays with both hands (plate
58)
and simultaneously plucks long
and short strings via plectrum from both sides of the instrument s body.
The first sound-producing mode was not confirmed by the
iconographie
materials
of subsequent period that indicates the extinction of the single hand sound-producing
tradition and the instrument itself. Regardless of the triangular (Cherhigiv bowl, plate
58)
or trapezoidal (of small sizes, plate
68)
shape of the instrument, the second sound-
producing mode (with both hands) served as the foundation for Zin kiv-Kharkiv ban-
dura play manner.
The synthesis process of lute (South-Ukrainian tradition, «culture of kobzas»)
and «culture of zithers» (North-Ukrainian tradition, which comes from vertically held
triangular and trapezoidal psalteries) had contributed to formation of two different
modes of holding
bandura in
relation to the performer s body (parallel to the body
-
and perpendicular or with the tilt) which were laid into foundation of forming of
different
bandura
schools (Kharkiv-Poltava and Chernihiv-Kyiv). Pisnevets can be
considered to be the transitional type of zither-lute (with the proto-neck and the arm
that allows to hold the instrument perpendicularly to the body, vertically plot
3.6).
The analysis of the term «gusli» in the medieval sourses has shown us a very
wide spectrum of its meanings that can be reduced to one invariant
-
a string mu¬
sical instrument, which name is functionally connected to the rituals of the transi¬
tional cycle. About the end of XV
-
leginning of
XVI
с
on the lands of
Mosco
wian
State that conquered Novgorod
Rus ,
the psalteries of vertical holding manner had
ceased their development and were gradually displaced from use as instruments that
lost their ideological function (religious and ritual function). Some of their construc¬
tive features have remained for a certain period of time in the other type of zither-like
instruments
-
vertically held, board-Zboat-like gusli without an opening in its upper
part (plate
77,
the musician from the right). Over the time, under the influence of non-
Slavic ethnic traditions these features have disappeared from
iconographie
sources of
Moscow
Rus as
the instruments of the pagan world, which have been fought by East-
Christian clergy. Later they were displaced by the same-type vertically held instru¬
ments of Finno-Ugric and Turkic-Tatar ethnic groups
(cántele, kyusle),
cultivation of
which was supported by missionary activity of the East-Christian Church (plate
61).
The East-Slavic vertical holding manner psalteries were finally displaced by horizon¬
tally held bowl-like instrument gusli.
313
Lute-like instruments became the third type of chordophones that contributed to
Bandura
formation. The medieval population of Ukraine possessed own ethnic kind of
lute-like instruments
-
«zithara
rus
to, which possibly could be the ancient Ukraini¬
an
kobza
(initially a
2-3
string instrument). Its forming was influenced by lute-like in¬
struments of ethnic groups that inhabited long the territory of ancient Ukraine (Scyth¬
ians, Sarmatians, Alans, Turks). The ingress of the long-necked, shovel-shaped lutes
(Scythian-Sakhian, Asian type) into the East-Slavic lands took place when Scythian
and subsequently Sarmatians and Alans were the dominant ethnos in the Northern
Black Sea Coast area who controlled the foremost territory of ancient Ukrainian lands
(towards the Carpathians and the Polissya). The
iconographie
patterns of the long-
necked, shovel-shaped Lute are preserved in Scythian monuments from Middle Asia
of V
с
(plate
79, 80),
ancient Greece and Rome (plate
5
a, c). They are recorded as a
relic in particular folk pictures of «Cossack Mamay» (plate
81).
Scythian-type lutes
with a shovel-shaped body which is unusual for ancient Greek instruments ingressed
into Greece through the Greek-Scythian culture of the Northern Black Sea Coast area
in IV-I
с. В. С.
(like the «mixed» Iranian-Greek culture Greek-Bactrian kingdom in
Central Asia).
The Sarmatian type short-necked lute with round-shaped body and proportions
1:1
(plate
85)
was as common on the territory of ancient Ukraine for a long time
which is witnessed by the iconography of
kobza
from folk picturess of «Cossack
Mamay» (plate
91).
This type became the foundation of Ukrainian short-necked
ko¬
bza
formation (together with an additional fingerboard-body, plate 13 a). The kind
o t
long-necked kites (kobzas) with additional treble strings (called prystrunky) made no
contribution to the bandura s formation (as K. Vertkov cosidered).
A unique three-string lute (not five-string as it was used to consider by now) with
a bent neck was depicted in the medieval murals «Musicians» in Kiev Saint Sophia s
Cathedral XI
с
(plate
96
a). When treating this instrument as a cultural borrowing
from the Byzantine world, it must be admitted that into Byzantium, as well as into
Kiev
Rus ,
this instrument could have ingressed from the Iranian world (Alanian en¬
vironment).
The nascence of prystrunky (the additional treble strings on the body of the in¬
strument), which organologists believe to be the priority «invention» of the Ukrainian
nation, cannot be indirectly connected exclusively to the Ukrainian string-plectrum
instruments. Their historical prototypes were noticed on lutes, which preserved in
ancient Iranian archaeological and
iconographie
(musical) materials of broad chrono¬
logical and territorial boundaries of Eurasia (V-XVI c, plate
92, 82, 87
b).
The double-sided placement of prystrunky on the body of the instrument, the de¬
piction of which is witnessed in the Iranian world (Late Hellenistic Bactria, Termez,
V c), has ingressed into string-plectrum instruments of medieval Ukraine through
Transcaucasia and early medieval Armenia (hybrid instruments from Ukrainian folk
pictures of «Cossack Mamay» (plate
87
b,
91
b). These instruments could have been
brought to the Moscow
Rus* as
the result of the Gold Horde conquests, the party to
which were the Alans (the instruments from the Litsevoi Chronograph
XVI
c. (plate
82).
The hybridization process of lute- and zither-like instruments on the East-Slavic
lands began before
XII
с
(the 8-string
Polanš
«al ud»
by Ibn Rustah X c; pisnevets
-
314
XII c),
and has lasted by
XVI
с
(the instrument from the Litsevoi Chronograph). This
process was connected to the loss of the dominant position of lyre-like gusli as an in¬
strument of pagan Slavic medieval. A similar process of chordophones hybridization
occurred in the Iranian world of Central Asian region (VIII-XIV c). It is represented
by Iranian instrument «mugny», which C. Sachs believed to be related to Ukrainian
bandura
(by the totality of its features).
The initial component of the maturation process of the idea of pry
strunky
can
be considered to be the medieval Slavic zither-like psaltery
-
pisnevets as well as
unique ancient kobzas with mirror-like symmetrically placed prystrunky, depictions
of which preserved in folk pictures of «Cossack Mamay» plate
91
b
(by the middle of
XIX
c).
Kobza
with prystrunky and
bandura
have been evolving simultaneously for
a long time as two parallel existing instruments with different modes of play and dif¬
ferent shapes of body (flat one in
bandura
and bowl-like in
kobza).
The short-necked
kobza
continued to evolve as an independent instrument with lute-like mode ofsound-
producing by means of increasing the number of prystrunky and externally became
partially similar to
bandura,
which resulted in the both titles synonymy in the folk
lexicon. This process has taken place during the XVIH-XIX c.
Marginal was the evolution line of long-necked
kobza
with small body: it couldnT
have influenced neither bandura s sound producing mode nor its shape (as errone¬
ously believed K. Vertkov). Such instrument could have become the short-necked
lute, which in the synthesis with the vertically held psaltery and the pisnevets led to
the nascence of lute-like zither-
bandura.
At the age of Baroque in Europe two types of lute-like hybrid instruments were
recorded:
1.
Instruments with an additional fingerboard (on the resonator box) and double
pegbox on the neck (theorbo, plate
16.
wright instrument);
2.
Instruments with an additional fingerboard and the double neck (polyphant
plate
90
d).
The first type was popular in Eastern Europe (Ukraine, Poland), the second one
in Western Europe. The second type of instruments
couldďt
have contributed directly
to the Ukrainian
bandura
formation because of the singularity of their production by
individual craftsmen.
Evolution of
bandura
in the end of
XIX -
early
XXI
с
Since the last decade
of
XIX
с
and during XX
e. bandura
has passed through an incredible path of evolu¬
tion as a traditional national instrument. From the epic accompanying instrument it
turned into a solo concert-academic and ensemble instrument in XX c. This happened
primarily due to fundamental changes in its ideological function in the Soviet period,
and the need to revive the traditional functions and to consolidate its new functions in
the years of independence. In XX
e. bandura
experienced truly accelerated evolution:
from the first attempts of unification of its shape and design, partial and total chroma-
tization of its scale
—
towards experimental attempts to change its morphology
—
in¬
troducing of the torban-like design (A. Paplynsky, V. Yemets, A. Honcharenko) of the
damping mechanics with relying on the spire (K. Nimchenko. I.
Hlady
lin.
V. Tuzy-
chenko,
R.
Hryn kiv). of the body morphology change (the opening through the reso¬
nator box, double neck on lyre-shaped banduras (A. Korniyevsky, K. Nimchenko,
I. Hladylin, V. Yemets). Such experiments covered the attempts to alter the mode
315
of sound-producing
-
to the keyboard-stroke (on banduras by I.
Hlady
lin,
V. Tuzy-
chenko),
as well as hybridization with other types of chordophones («keyboard» ban¬
duras by I.
Hlady
lin,
V. Tuzychenko, «banduryna»
by A. Korniyevsky, «combined
bandura»
by V. Roy, the harp-bandura by M. Prokopenko
-
plate
112, 113
b,
117).
Through the unification of its morphology and tuning the traditional diatonic instru¬
ment turned into partly chromatic and entirely chromatic, and then into an instrument
with double-diatonic tuning on the basis of the dulcimer-like mode of string fixation
(once suggested by H. Khotkevych and implemented by V. Tuzychenko, I. Sklyar and
V. Herasymenko). The chromatization ofthe scale gave rise to a search for the optimal
mechanisms of switching the instrument s tuning into any tonality and for creation of
the universal re-tune mechanism (I. Sklyar, V. Herasymenko).
As a result of the instruments evolution during XX
с
two main types of aca¬
demic
bandura
have formed: Kharkiv-type (Kharkiv
-
Poltava) (plate
106, 107, 108)
and Kyiv-type (Kyiv-Chernihiv plate
100),
which arose on the basis of historically
consolidated in the national instrumental tradition two modes of sound-producing
on plectrum chordophones of zither-like (gusli, psaltery) and lute-like (with relics of
pressing the strings on the fingerboard). This is reflected in the two different manners
of holding them (perpendicularly or horizontally to the body), and in the differences
of both types of academic instrument s morphology (the size and the body depth and
shape, location of the switches placement
-
automated in the upper schemstock on
Kyiv
bandura
and placed on the lower schemstock with individual switches on every
single string
—
on the Kharkiv
bandura).
The vertical holding manner, proprietary to performing on the Scythian-type lyres
and lyre-like gusli, became genetically original for the Chernihiv holding manner of
the
bandura,
which found its implementation in North Ukrainian
bandura
tradition
-
Chernihiv-Kyiv (plot
3.2).
Genetically it is connected to the vertical holding manner
of ancient
Rus lyra-like
gusli (plot
3.2).
The psaltery holding manner (parallel to
the body) was implemented in the Zin kiv-Kharkiv school (plot
3.4).
The lute-like
mode of play, partly inherited from
kobza
-
by means of shortening the length ofthe
strings via pressing them to the fingerboard, also laid in the basis ofthe Kharkiv ban-
dura mode of play and influenced its holding manner. It became the foundation ofthe
Southern Ukrainian tradition (partly based on the medieval tradition of performing on
small triangular psalteries while both hands played simultaneously).
Therefore, one should distinguish not three schools of
bandura
play as it is con¬
sidered to be in the classical Ukrainian organology (F. Kolessa), but only two
-
the
Northern and the Southern. This conclusion is supported by the S. Hrytsa observation
ofthe regional stylistic specifics ofthe
duma
epos according to which the scholar sug¬
gests to divide it into the Northern and Southern Ukrainian tradition. The conclusion
above correlates with
С
Sachs opinion about the existence ofthe Northern (the lyre)
and the Southern (the lute) paths ofthe chordophones spread from the East to the West
and Europe. The Northern Ukrainian tradition became a part of those paths, under
influence of which Ukrainian medieval «psaltery culture» was formed (incl. lyre-like
gusli). The Southern path is related to the Great steppe strip, which was used by early
Iranian nomads on their way to the West. It had the indirect influence on formation
ofthe Ukrainian medieval «lute culture», which had effect on Chernihiv and Zin kiv
(Kharkiv) manners of
bandura
holding. Presumably, the geographic «demarcation
316
line» of these traditions intersection has become the territory of modern Ukraine
-
Poltava region
-
the borderlands of steppe and forest steppe, where the hybrid instru¬
ment
-
bandura
has been formed.
The Kharkiv
bandura
from which the
instruments
process of standartization (be¬
coming academic) began, and has been developed so successfully in
1910-1
920ies
(by H. Khotkevych), for ideological reasons at the beginning of the
1930s
went under¬
ground from Soviet bandurism which experiences the process of mass-usage so char¬
acteristic of a totalitarian-type society. However, the operation of Kharkiv
bandura
has not stopped in the
bandura
art of Galician-Ukrainian lands
( 1920-1940163)
and in
the western Ukrainian Diaspora (in Czech-Slovakia, Poland. Germany, since
1950s
in
the USA. Canada, Australia). The Ukrainian diaspora in the West, in a considerably
greater extent than the parent (Ukrainian) musical culture of XX
с
retained and «con¬
served» the primary national ideal-sound of the traditional instrument specifically the
Poltava-Kharkiv
bandura
which remained nearly intact and the playing technique
on an academic Kharkiv instrument (with switches on each string). The well con¬
served traditions were unable to become a major riverbed of
bandura
development.
The Ukrainian diaspora preserved the design of the starosvils ka (traditional)
bandura
and a more progressive (from the point of view of the technique evolution) mode of
playing
-
Kharkiv-style (by Khotkevych). In the
1
990s, after Ukraine gained indepen¬
dence the diaspora has returned the Kharkiv-style
bandura
which was already chro-
matized with the re-tune mechanism on each string as a more technically advanced
instrument capable of interpreting the traditional
bandura
repertoire
(duma.
historical,
moralistic songs, chants, dance musical genres) along with the world classics works
and the modern
bandura
compositions. Thus the instrument has not become universal
because of its tone-acoustic and purely technical specificity from the point of view of
multi-style repertoire (incl. arrangements) performing possibility.
In the western Ukrainian diaspora the torban-like Kyiv banduras (with double peg-
box) evolved. These were the models by A. Paplynsky. manufacturing and improve¬
ment of which was continued by S. Lastovych-Chulivsky. K. Misevych. V. Yemets
(Yemets
bandura
of
1948
with wide neck and double pegbox). A. Honcharenko (with
different kinds of re-tune mechanisms).
In the second half of the
1920s
(the period Ukrainization) the Soviet Ukraine
enjoyed an unprecedented rise of fabric
bandura
production (II. Khotkevych. L. Hay-
damaka. H. Snehiriov. H. Gorgul, I. Hladylin. K. Nimchenko and others), which has
lasted for some time along with the traditional manufacturing bv craftsmen. The
ter-
mination point
of the individual
bandura
manufacturing became the tragic so called
Kobzars s congress in
1933
related to the physical annihilation of the kobzars and
their instruments. After the tragic death ofH. Khotkevych (in fact, the massacre of his
school) the Kharkiv
bandura
has stayed on emigration for the period of World War II.
In 1930-1960-ies. after the period of the rapid new designs and improvements of
1920s,
in the Ukrainian Soviet Republic has flourished the trend toward unification of
the Chernihiv style (Kyiv-Chernihiv style) instrument and its manner of play so as to
become easier and more affordable to master for a wide sector of the population. This
coincided with the Soviet age trends of mass culture popularization and the related
to it mass fabric production of academic instruments (the Chernihiv-,
Meľnytsya-
Podiľska-,
Lviv musical instruments factories). «Nationwide» became the traditional
317
academic Kyiv-Chernihiv banduras
by V.
Tuzychenko,
I. Sklyar, and
Lvi
v banduras
(since the
1960s)
by V.
Herasymenko
(designed on the basis
oťíCyiv-style
bandura
by
I. Sklyar).
In that period the researches of Ukrainian craftsmen were concentrated on unifica¬
tion of the Chernihiv-type instruments with the chromatic adjustment of the strings.
By reducing the distance between the strings, the all-chromatic scale complicated the
sound-producing. Therefore the designers encountered the task of making the instru¬
ment s tuning double-diatonic based on the dulcimer-like (crossing) way of string fix¬
ation, which had been suggested by H. Khotkevych in
19008.
Such string-placement,
controlled by the re-tune mechanism, was first designed by I. Sklyar in
1959
(in coop¬
eration with P.
Ivanov
basing on H. Khotkevych s drawings that survived). As a result
of this truly revolutionary innovation the
bandura^
tuning became double-diatonic.
The creative pursuits of A. Korniyevsky one of the first craftsmen who conducted
experiments on creating lyre-like (harp-like by Korniyevsky)
bandura (end
of
1920s)
were continued by Ukrainian diaspora in the West. Furthermore. A. Korniyevsky cre¬
ated a unique hybrid instrument that combined features of two zither-like (plucked)
instruments, called by the media «bamiwyna» (by Korniyevsky it was the synthesis
of two banduras with the accordion). The constructive experiments with hybridization
of the
bandura
were continued by
I. Hlady
lin. M.
Prokopenko (harp-bandura with
harp-like way of sound-producing) and V. Roy (the combined
bandura or
the
bandura
with prefixes).
In
1990s
when Ukraine gained independence a movement commenced for the
traditional old-world (old school)
bandura
revival (G. Tkachenko, M. Budnyk,
M. Lytvyn. V. Kushpet, K. Cheremsky. T. Kompanichenko and others), which was
related to formation of the Kyiv-Irpin (Kyiv) and Kharkiv Kobzar centers and estab¬
lishment of the V. Lytvyn Higher pedagogical school for traditional
bandura
playing
study (v. Stritivka). It was related to creation of the National Kobzars Union
(1996)
as well.
The revival of the Kharkiv-style
bandura in
Ukraine at the beginning of
1990s
is
related to the name of the Lviv craftsman V. Herasymenko who created a concert ban-
dura of his own design called «Lvivyanka» (1964-1970-ies), while he was working
on modification of the Kyiv-style I. Sklyar
bandura.
The «Lvivyanka» had a lightened
body (with segmented resonator box) and an improved (based on the
I. Skyar
s
one)
re-tune mechanism (plate 118 b,
119
a). In
1990s
V. Herasymenko improved the de¬
sign ofPoltava-Kharkiv instrument by V. Vetsal (on the basis of the Honcharenko
bros.
banduras and Kyiv-Kharkiv
bandura
by I. Sklyar, plate 119 b). He creates
5
models of
Kharkiv banduras (diatonic and with re-tune mechanism,
1992-2002).
Among them
there are several models that combine two types of mechanism
-
Lviv and Kharkiv.
The experiments on the sound-palette of Kyiv-Chernihiv
bandura in
the 2000s
were conducted by the Kyiv bandurist-virtuoso
-
R. Hryn kiv. He has revived the for¬
gotten damper design of
bandura,
which first was proposed by experimental banduras
by K. Nimchenko, I. Hladylin. V. Tuzychenko (in 1920-1950 s), the use of this design
has expanded the timbre sonic palette enriched it with the playing technique and the
bar articulation technique which were transferred from other instruments
-
guitar,
violin, harpsichord.
318
In his
bandura Hryn kiv
applied the design and the body material of banduras by
such craftsmen as Y. Mentey (Ukraine) and V. Vetsal (Canada), the I. Sklyar re-tune
mechanism, which was improved by V. Herasymenko, and some lightened separate
parts of construction. In
2003
he created an electroacoustic instrument with metal
(aluminum) body and with the colorful expressive possibilities of its timbre palette.
The active creative pursuits of improving the timbre sounding of the instrument
continues in the musical design environment of western Ukrainian Diaspora (V. Vet-
sal, Canada). They are concentrated around the production of the clincher body con¬
struction on the frame basis, with the introduction of certain technological automated
processes and further experiments to create a universal tonality re-tune mechanism.
These experiments comprise the use of new materials for building bandura s body
-
carbonic fiber and various types of plastic (including Nomex) which promotes the
body durability and the instrument s holding stability as well as it optimizes the whole
production process. The young generation of
Bandura
craftsmen in West diaspora is
working on
modification
of the traditional
Bandura
design. They research for optimi¬
zation of different types of mechanisms (A. Birko, K. Bloom), as well as they research
for adaptation of technologies borrowed from other instruments (guitar, cello) and the
instrument s computer diagnostics (K. Bloom
).
In
1990-2000165,
in Ukraine, the traditional way of
bandura
production has been
revived and implemented thanks to the activity of Kyiv-Irpin (Kyiv) Kobzars Cen¬
ter (Tsekh). a workshop for traditional banduras production at the V. Lytvyn Higher
pedagogical Kobzars school. Kharkiv Kobzars Center. In 1990-2000 s. it has been
observed a parallel development of two designing directions of the instrument
-
of
traditional and concert-academic type, which stimulated a considerable rise of compo¬
sitional creativity and organization of international professional bandurists competi¬
tions (named after H. Khotkevych. Yu. K tasty) as well as the updating of the poetic
and expressive possibilities of academic
bandura
repertoire.
The improvement of the academic-type instrument caused the composers search¬
es for new figurative art solutions, consonant with modern trends in the musical cul¬
ture of XX c, especially the searches by H. Khotkevych, Z. Shtokalko, V. Yemets. The
last two bandura-virtuosos were the followers of H. Khotkevych school, who. on the
one hand, continued their teachers creative principles and developed his theme of the
Orient in Ukrainian
Bandura
music, his modernistic trends in
bandura
art. and on the
other hand, they developed (due to technical capabilities Kharkiv
bandura)
the impres¬
sionistic and neo-romantic tendencies in Ukrainian
bandura
music and enriched its ex¬
pressive palette with new sound-producing modes (the noise chords, long
glissando,
tremolo, pizzicato, iiagolettes. playing below the bridge, etc.). The achievements of
Z. Shtokalko and V. Yemets in the area of the figurative art horizons expansion were
picked up and developed in 1970-2000-ies by the middle and the junior generation of
Ukrainian composers
-
M. Dremlyuga. V. Kyreyko. A. Kolomiets,
A. Kompaniets,
Ya.
Lapinskyy.
К.
Myaskov. V. Zubytsky.
V. Vlasov. E. Milka.
V. Kaminsky,
V.
Ту-
lyk, M.
Stetsyun, I. Taranenko.
M.
Denysenko. O. Herasymenko.
I. Haydenko, Yu.
Alzhnyev. Yu. Homelska and Ukrainian Diaspora composers (Y. Oliynyk, Yu. Kytasty
USA, V. Mishalov Canada).
Today the academic
bandura
by its sound features (intense spectral overtones)
little resembles the traditional one. which possesses the ideal timbre acoustics. The
319
modern
state of
bandura
art development requires further hard work of the
bandura
craftsmen on timbre acoustic features in order to reconstruct the specifics of its orig¬
inal timbre while preserving the already achieved level of loudness. This problem
should not be solved by craftsmen alone; this should be solved by means of organiz¬
ing of the acoustic laboratories at the state level, which unfortunately do not exist in
Ukraine today00.
Through last decades the experiments have revived on creation of new sound qual¬
ities by means of new materials application for production of the instrument and its
separate parts (V. Vetsal, R. Hryn kiv), implementation of the dam pier (R. Hryn kiv).
The genesis of
bandura
performing: the heritage of the spiritual tradition.
The study of
bandura
performing genesis, by the
iconographie
materials, has detected
the historical roots and heredity of Ukrainian spiritual tradition. The study has discov¬
ered the following ritual functions of the instrument- magical, religious, ideological,
media-communicative (in the rites of transitional and agricultural cycles), protective,
initial, teleportable, diplomatic and camouflage. Some of these functions found their
reflection in Ukrainian folk-epic tradition.
The attempt of the musical instrument interpretation in functionally and ethni¬
cally diverse rituals, which took place in the ancient musical-instrumental culture of
Ukraine (from the Stone Age to the present day) has revealed a variety of its functions
and shown us that they always depend on the sense (and the content) of the rite and of
a specific ethnic tradition.
The study of Ukrainian
iconographie
sources, including folk pictures «Cossack
Mamay» has discovered the influence of Indo-Iranian cultural layer in the compo¬
sitional attributes of the painting (which confirms the Indo-Iranian genesis line of
the instrument). It was reflected in the circle-like composition of the painting in the
foundation of which lays the symbolic reconstruction of relic attributes of the ancient
Iranian (Scythian. Alan-Ossetian) rite of transitional cycle with the participation of
the ancestor-priest (cossack) who plays a musical instrument. The chordofone itself
belongs to the kind of lute-like (with short neck and with a long neck) and is an ancient
kobza
or a hybrid-type instrument
-
a kobza
with an additional stringholder (on the
resonator box), on which the prystrunky are placed either from one side or from both
sides adjacent to the main neck strings. The placement of prystrunky from both sides
of the neck is rarely met and it is a reverberation of an old medieval tradition inherited
from the ancient Iranian (Central Asiatic-Hellenistic) lute-like hybrid instruments.
This conclusion is confirmed by the analysis of the sole eponym «Cossack Mamay»
(in the meaning of «the one who is watching», «the one who is protecting» and «the
horse rider») whose origins belong to ancient Iranian (including Scythian) but not
Turkic (historically the later one) cultural layer as it was assumed earlier.
The observation of modal, rhythmical and formative specificity of the
bandura
repertoire (including
duma
epos) also confirmed the influence ancient Iranian cultural
layer in the modal organization of
duma (hemiolic,
microtome intonations,
glissando),
the principles of additive rhythmic (different from European temporal-measuring),
and in the principles of form-building with a number of correspondences with forms
of Eastern monody and the ways of rhythmic organization (Persian-Azerbaijanian
:o In
1920s
in Ukraine this problem was studied by P. Baranovsky and Ye.Yutsevych. For example
today in Russia the laboratories for the study of timbre acoustics of Bells do exist.
320
mugam, Iranian maqom, Indian ragă).
The all-Ukrainian phenomenon «kolomyika»
archetype
-
also may be the product of the Indo-European
(6
thousand years B. C,
V. Goshovsky) and narrower
-
Indo-Iranian
(2
thousand years
В. С.)
cultural world,
which in the late Hellenistic age entered into the early Christian liturgy of
Coptes,
ancient Roman poetry («Saturn» poem), an epic poem of vagants, new Latin poetry)
and preserved in the Central, Western and Northern European folk and professional
traditions. The kolomyika archetype serves as a link between East-Carpatian epic (the
genre of recitative tunes-chronicles
-
spivanky-chroniky) and instrumental Tripartite
(Troyjsta
-
three functional) music, genetically related to the Indo-European «idea of
trinity» the ancient Slavic ritual triple sacrifice
(tryzna).
The idea of trinity operates
in
duma
epos (implementing the ancient ritual function of the kobzar (singer) with
the instrument as a mediator between the three worlds
-
World Tree). This idea was
developed in the genres of
bandura
music of academic tradition (including
bandura
music) of XX
-
first decade of
XXI
с
321
|
| any_adam_object | 1 |
| author | Zinkiv, Iryna Jaroslavivna |
| author_facet | Zinkiv, Iryna Jaroslavivna |
| author_role | aut |
| author_sort | Zinkiv, Iryna Jaroslavivna |
| author_variant | i j z ij ijz |
| building | Verbundindex |
| bvnumber | BV041720389 |
| ctrlnum | (OCoLC)876425669 (DE-599)BVBBV041720389 |
| format | Book |
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| id | DE-604.BV041720389 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T01:03:43Z |
| institution | BVB |
| isbn | 9789660267046 |
| language | Ukrainian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027167377 |
| oclc_num | 876425669 |
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| physical | 447 S. Ill., Kt. |
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| publisher | IMFE |
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| spelling | Zinkiv, Iryna Jaroslavivna Verfasser aut Bandura jak istoryčnyj fenomen Iryna Zinkiv Kyïv IMFE 2013 447 S. Ill., Kt. txt rdacontent n rdamedia nc rdacarrier In kyrill. Schr., ukrain. - Zsfassung in engl. Sprache Bandura (DE-588)4318453-4 gnd rswk-swf Bandura (DE-588)4318453-4 s DE-604 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027167377&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027167377&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Zinkiv, Iryna Jaroslavivna Bandura jak istoryčnyj fenomen Bandura (DE-588)4318453-4 gnd |
| subject_GND | (DE-588)4318453-4 |
| title | Bandura jak istoryčnyj fenomen |
| title_auth | Bandura jak istoryčnyj fenomen |
| title_exact_search | Bandura jak istoryčnyj fenomen |
| title_full | Bandura jak istoryčnyj fenomen Iryna Zinkiv |
| title_fullStr | Bandura jak istoryčnyj fenomen Iryna Zinkiv |
| title_full_unstemmed | Bandura jak istoryčnyj fenomen Iryna Zinkiv |
| title_short | Bandura jak istoryčnyj fenomen |
| title_sort | bandura jak istorycnyj fenomen |
| topic | Bandura (DE-588)4318453-4 gnd |
| topic_facet | Bandura |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027167377&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027167377&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT zinkivirynajaroslavivna bandurajakistorycnyjfenomen |