The Ukrainian Weekly 1988, No.34
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A Guide to the Archival and Manuscript Collection of the Ukrainian Academy of Arts and Sciences in the U.S., New York City
Research Report No. 30 A GUIDE TO THE ARCHIVAL AND MANUSCRIPT COLLECTION OF THE UKRAINIAN ACADEMY OF ARTS AND SCIENCES IN THE U.S., NEW YORK CITY A Detailed Inventory Yury Boshyk Canadian Institute of Ukrainian Studies University of Alberta Edmonton 1988 Canadian Institute of Ukrainian Studies University of Alberta Occasional Research Reports Publication of this work is made possible in part by a grant from the Stephania Bukachevska-Pastushenko Archival Endowment Fund. The Institute publishes research reports periodically. Copies may be ordered from the Canadian Institute of Ukrainian Studies, 352 Athabasca Hall, University of Alberta, Edmonton, Alberta, T6G 2E8. The name of the publication series and the substantive material in each issue (unless otherwise noted) are copyrighted by the Canadian Institute of Ukrainian Studies. PRINTED IN CANADA Occasional Research Reports A GUDE TO THE ARCHIVAL AND MANUSCRIPT COLLECTION OF THE UKRAINIAN ACADEMY OF ARTS AND SCIENCES IN THE U.S., NEW YORK CITY A Detailed Inventory Yury Boshyk Project Supervisor Research Report No. 30 — 1988 Canadian Institute of Ukrainian Studies University of Alberta Edmonton, Alberta Dr . Yury Boshyk Project Supervisor for The Canadian Institute of Ukrainian Studies Research Assistants Marta Dyczok Roman Waschuk Andrij Wynnyckyj Technical Assistants Anna Luczka Oksana Smerechuk Lubomyr Szuch In Cooperation with the Staff of The Ukrainian Academy of Arts and Sciences in the U.S. Dr. William Omelchenko Secretary General and Director of the Museum-Archives Halyna Efremov Dima Komilewska Uliana Liubovych Oksana Radysh Introduction The Ukrainian Academy of Arts and Sciences in the United States, New York City, houses the most comprehensive and important archival and manuscript collection on Ukrainians outside Ukraine. -
Udc 930.85:78(477.83/.86)”18/19” Doi 10.24919/2519-058X.19.233835
Myroslava NOVAKOVYCH, Olha KATRYCH, Jaroslaw CHACINSKI UDC 930.85:78(477.83/.86)”18/19” DOI 10.24919/2519-058X.19.233835 Myroslava NOVAKOVYCH PhD hab. (Art), Associate Professor, Professor of the Departmentof Musical Medieval Studies and Ukrainian Studies.Mykola Lysenko Lviv National Music Academy, 5 Ostapa Nyzhankivskoho Street, Lviv, Ukraine, postal code 79005 ([email protected]) ORСID: 0000-0002-5750-7940 Scopus-Author ID: 57221085667 Olha KATRYCH PhD (Art), Professor, Academic Secretary of the Academic Council, Mykola Lysenko Lviv National Music Academy, 5 Ostapa Nyzhankivskoho Street, Lviv, Ukraine, postal code 79005 ([email protected]) ORCID: 0000-0002-2222-1993 Scopus-Author ID: 57221111370 ResearcherID: AAV-6310-2020 Jaroslaw CHACINSKI PhD (Humanities), Assistant Professor, Head of the Department of Music Art, Pomeranian Academy in Slupsk, 27 Partyzanów Street, Slupsk, Poland, postal code 76-200 ([email protected]) ORCID: 0000-0002-3825-8184 Мирослава НОВАКОВИЧ доктор мистецтвознавства, доцент, професор кафедри музичної медієвістики та україністики Львівської національної музичної академії імені Миколи Лисенка, вул. Остапа Нижанківського, 5, м. Львів, Україна, індекс 79005 ([email protected]) Ольга КАТРИЧ кандидат мистецтвознавства, професор, вчений секретар Львівської національної музичної академії імені Миколи Лисенка, вул. Остапа Нижанківського, 5, м. Львів, Україна, індекс 79005 ([email protected]) Ярослав ХАЦІНСЬКИЙ доктор філософії (PhD humanities), доцент,завідувач кафедри музичного мистецтва Поморської академії,вул. Партизанів 27, м. Слупськ, Польща, індекс 76-200 ([email protected]) Bibliographic Description of the Article: Novakovych, M., Katrych, O. & Chacinski, J. (2021). The role of music culture in the processes of the Ukrainian nation formation in Galicia (the second half of the XIXth – the beginning of the XXth century). -
University of California UNIVERSITY of CALIFORNIA
UCLA UCLA Electronic Theses and Dissertations Title Ukrainian Identity in Modern Chamber Music: A Performer's Perspective on Valentyn Silvestrov's Violin Sonata "Post Scriptum" and its Interpretation in the Context of Ukrainian Chamber Works. Permalink https://escholarship.org/uc/item/8874s0pn Author Khomik, Myroslava Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works A dissertation submitted in partial satisfaction Of the requirements for the degree Doctor of Musical Arts By Myroslava Khomik 2015 © Copyright by Myroslava Khomik 2015 ABSTRACT OF THE DISSERTATION Ukrainian Identity in Modern Chamber Music: A Performer’s Perspective on Valentyn Silvestrov’s Violin Sonata “Post Scriptum” and its Interpretation in the Context of Ukrainian Chamber Works. by Myroslava Khomik Doctor of Musical Arts University of California, Los Angeles, 2015 Professor Movses Pogossian, Chair Ukrainian cultural expression has gone through many years of inertia due to decades of Soviet repression and censorship. In the post-Soviet period, since the late 80s and early 90s, a number of composers have explored new directions in creative styles thanks to new political and cultural freedoms. This study focuses on Valentyn Silvestrov’s unique Sonata for Violin and Piano “Post Scriptum” (1990), investigating its musical details and their meaning in its post- Soviet compositional context. The purpose is to contribute to a broader overview of Ukraine’s classical music tradition, especially as it relates to national identity and the ii current cultural and political state of the country. -
Visual Text and Musical Subtext: the Cossacks (George Hill, 1928): a 21St-Century Composer’S Journey in Silent Film Scoring
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring Robert Israel Electronic version URL: http://journals.openedition.org/miranda/38488 DOI: 10.4000/miranda.38488 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Robert Israel, “Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring”, Miranda [Online], 22 | 2021, Online since 23 March 2021, connection on 26 April 2021. URL: http://journals.openedition.org/miranda/38488 ; DOI: https:// doi.org/10.4000/miranda.38488 This text was automatically generated on 26 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Cen... 1 Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring Robert Israel 1 This piece aims to contextualize my contribution as ethnomusicologist, composer, orchestrator, arranger, conductor, choral director, producer, music contractor, and music editor for Turner Classic Movie’s presentation of MGM’s 1928 production of The Cossacks, directed by George Hill, with additional sequences directed by Clarence Brown. Working within a limited budget; doing research into the film’s historical era and the musical practices of the culture in which it takes place; finding source material, ethnic instruments, and musicians specializing in specific ethnic styles of music performance; and, other formidable challenges which I will outline here. -
Life and Times of Georgy Voronoi
Life and Times of Georgy Vorono¨ı (1868-1908) Halyna Syta1 & Rien van de Weygaert2 1 Drahomanov National Pedagogical University, 9 Pirohova Str, 01030 Kyiv, Ukraine 2 Kapteyn Astronomical Institute, University of Groningen, the Netherlands [email protected]; [email protected] I know minutes not of complacency, not of pride – they all come later, – but moments when the mind completely grips the idea which before kept slipping off like a small ball. Then I would forget about my existence Summary. Georgy Theodosiyovych Vorono¨ı(1868-1908) is famous for his seminal contri- butions to number theory, perhaps mostly those involving quadratic forms and Voronoi tes- sellations. He was born and grew up in the town of Zhuravka in the Ukraine, at the time part of the Russian Empire. Having studied at St. Petersburg University under the supervision of Andrey Markov, in 1894 he became a professor of pure mathematics at the University of War- saw. In his career he published six large memoirs and six short papers, each of which were so profound and significant that they left a deep trace in modern number theory. Together with Minkowski, he can be considered as the founder of the Geometry of Numbers. In this contribution, a brief sketch will be given of his life, work and legacy. 1 Ukrainian Origins Georgy Theodosiyovych Vorono¨ı 1 was born on April 28, 1868,2 in the small town of Zhuravka in the Poltava Gubernia, in Russia (now the village Zhuravka belongs 1 G.Vorono¨ıhimself used this transliteration of his name, that is ”¨ı” at the end of the word, in arXiv:0912.3269v1 [math.HO] 16 Dec 2009 the papers written by him in French, whereas the experts of Voronoi diagrams used to write ”Voronoi” in accordance with the term ”Voronoi diagram”. -
The Ukrainian Weekly 1977, No.31
www.ukrweekly.com СВОБОДАІЦSVOBODA П П УКРАЇНСЬКИЙ щоденник чШвКУ UKBAINIANOAIIV rainiaENGLISH LANGUAGnE WEEKL YWeelc EDITION f Ї VOL. LXXXIVШ No. 181 THE UKRAINIAN WEEKLY SUNDAY, AUGUST 21,1977 25CEKS^ ^n American Lawyer Wishes to Defend Terelya Arrested After Marynovych, Matusevych Denouncing Soviet Asylums SoWef Dissidents Appeal to West for Assistance NEW YORK, N.Y.—Yosyp Terelya, nek as being a member of the Moscow a 34-year-old Ukrainian poet and one- Group to Promote the implementation time political prisoner, was re-arrested of the Helsinki Accords, and Kaplun as by the KGB last April after making a being a Soviet dissident. The other two strong indictment of Soviet psychiatric persons are unknown in the West. abuses, reported the press service of the Terelya'e case also attracted the Ukrainian Supreme Liberation Council attention of western journalists, in his (abroad). Wednesday, August 17th column, no- Terelya, who already spent 14 years ted American investigative columnist, in prison, was "driven to despair" by the Jack Anderson, described the tortures repressions he faced during his brief experienced by Terelya during his period of freedom late last year, said prison and psychiatric asylum confine– members of the Soviet affiliate of the ments. Committee Against Psychiatric Abuse Terelya was born in 1943 in the Myroslav Marynovych Mykola Matusevych for Political Purposes, and he wrote in a Transcarpathian region of Ukraine. .letter to Y. Andropov, the KGB chief, The four Soviet dissidents noted in their NEW YORK, N.Y.—An American jobs for supporting the plight of politi– that Soviet mental asylums "would have appeal that Terelya quickly began to bW;bjfca^ lojewe asadefense cal prisoners. -
TABLE of CONTENTS Libraries (ACRL), Which Is One of Several Divisions of the American Li- Brary Association (ALA)
MESSAGE FROM THE CHAIR This year has been an extremely active one for the Slavic and East European Section (SEES) of the Association of College and Research TABLE OF CONTENTS Libraries (ACRL), which is one of several divisions of the American Li- brary Association (ALA). Major activities include: 1) the upcoming SEES program at the 2010 ALA Annual Conference in Washington, D.C.; 2) the implementation of the 2009–2010 SEES Action Plan, which involved, most significantly, a joint SEES/AAASS sponsored roundtable at the 2009 AAASS National Convention in Boston; 3) new digital projects of the Message from the Chair. ................................................................... 2 Access and Preservation (A&P) Committee; 4) the work of a special joint SEES/WEES ad-hoc committee to explore a potential merger of the two Message from the Editor. .................................................................. 6 sections; 5) updates to the Slavic cataloging manual by members of the Automated Bibliographic Control (ABC) Committee; and 6) personnel . I. CONFERENCES and format changes to the SEES newsletter. In 2009 SEES membership continued its gradual decline at the same rate (6 percent) as ACRL as a whole. At year’s end the total number of ALA Annual Meeting................................................................ 7 SEES members was 184. The data show a significant amount of turnover; while a number of SEES members did not renew their membership, the ALA Midwinter Meeting......................................................... 1 3 number of new members also increased in comparison with the previous year. Although SEES is always sad to see members leave the Section, we AAASS National Meeting....................................................... 2 2 are encouraged by the number of new members interested in exploring opportunities in SEES. -
THE DEVELOPMENT of BANDURA MUSIC ART BETWEEN the 1920S and 1940S
Journal of Ethnology and Folkloristics 14 (2): 44–66 DOI: 10.2478/jef-2020-0015 THE DEVELOPMENT OF BANDURA MUSIC ART BETWEEN THE 1920s A N D 1940s MARYNA BEREZUTSKA Associate professor Department of Folk Instruments M. Glinka Dnipropetrovsk Academy of Music Lyvarna street 10, 49044 Dnipro, Ukraine e-mail: [email protected] ABSTRACT Bandura art is a unique phenomenon of Ukrainian culture, inextricably linked with the history of the Ukrainian people. The study is dedicated to one of the most tragic periods in the history of bandura art, that of the 1920s–1940s, during which the Bolsheviks were creating, expanding and strengthening the Soviet Union. Art in a multinational state at this time was supposed to be national by form and socialist by content in accordance with the concept of Bolshevik cultural policy; it also had to serve Soviet propaganda. Bandura art has always been national by its content, and professional by its form, so conflict was inevitable. The Bolsheviks embodied their cultural policy through administrative and power methods: they created numerous bandurist ensembles and imposed a repertoire that glorified the Communist Party and the Soviet system. As a result, the development of bandura art stagnated significantly, although it did not die completely. At the same time, in the post-war years this policy provoked the emigration of many professional bandurists to the USA and Canada, thus promoting the active spread of bandura art in the Ukrainian Diaspora. KEYWORDS: bandura art • bandurists • kobzars INTRODUCTION The bandura is a unique Ukrainian folk instrument whose history is closely connected with the Ukrainian nation’s history. -
Concert in Support of Peace and Democracy in Ukraine &
Donations can be made to: Donationer kan göras till: Bankgiro 109-9316 Concert in Support of Peace and Democracy in Ukraine & It makes no difference to me Inauguration of the It makes no difference to me, No father will remind his son Ukrainian Institute of Sweden If I shall live or not in Ukraine Or say to him, "Repeat one prayer, Or whether any one shall think One prayer for him; for our Ukraine Of me 'mid foreign snow and rain. They tortured him in their foul lair." It makes no difference to me. It makes no difference to me, UlRIkSDAlS SlOTTSTeATeR In slavery I grew 'mid strangers, If that son says a prayer or not. CONfIDeNCeN Unwept by any kin of mine; It makes great difference to me In slavery I now will die That evil folk and wicked men Sunday, 24 Aug 2014 And vanish without any sign. Attack our Ukraine, once so free, I shall not leave the slightest trace And rob and plunder it at will. Organized by: Upon our glorious Ukraine, That makes great difference to me. The Ukrainian Institute of Sweden Our land, but not as ours known. (Text: Taras Shevchenko) With support from: Kjell och Märta Beijers stiftelse, Anders Walls stiftelse, Confidencen and The Embassy of Ukraine in Sweden Min kära vänner! My dear friends! för några månader sedan lade sig ett A few months ago a dark cloud took transferred to the fund of Ukrainian in - mörkt moln över Ukraina. Hundratals shape over Ukraine. Hundreds of stitute in Sweden. The main aim of människor dog på Maidan, krim an - people died on Maidan, Crimea was which is foremost – promotion and sup - nekterades och nu har ett krig brutit ut annexed and now a war has erupted in port of Ukrainian culture in the world. -
The First Movements of Sergei Bortkiewicz's Two Piano Sonatas, Op. 9
THE FIRST MOVEMENTS OF SERGEI BORTKIEWICZ’S TWO PIANO SONATAS, OP. 9 AND OP. 60: A COMPARISON INCLUDING SCHENKERIAN ANALYSIS AND AN EXAMINATION OF CLASSICAL AND ROMANTIC INFLUENCES Yi Jing Chen, B.A., M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2021 APPROVED: Gustavo Romero, Major Professor Timothy Jackson, Co-Major Professor Elvia Puccinelli, Committee Member Steven Harlos, Chair of the Division of Keyboard Studies Jaymee Haefner, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Chen, Yi Jing. The First Movements of Sergei Bortkiewicz’s Two Piano Sonatas, Op. 9 and Op. 60: A Comparison including Schenkerian Analysis and an Examination of Classical and Romantic Influences. Doctor of Musical Arts (Performance), August 2021, 79 pp., 1 figure, 47 musical examples, 1 appendix, bibliography, 57 titles. The purpose of this study is to analyze the first movements of Sergei Bortkiewicz’s two piano sonatas and compare them with works by other composers that may have served as compositional models. More specifically, the intention is to examine the role of the subdominant key in the recapitulation and trace possible inspirations and influences from the Classical and Romantic styles, including Mozart, Beethoven, and Schubert. The dissertation employs Schenkerian analysis to elucidate the structure of Bortkiewicz’s movements. In addition, the first movement of Mozart’s Piano Sonata K. 545, Beethoven’s Coriolan Overture, and the first movement of Schubert’s “Trout” Quintet in A, D. 667, are examined in order to illuminate the similarities and differences between the use of the subdominant recapitulation by these composers and Bortkiewicz. -
Concert Program
Oksana Dyka, soprano Angelina Gadeliya, piano • Solomiya Ivakhiv, violin I. Bellini Vincenzo Bellini Casta Diva (1801-1835) from Norma (1831) Program Mozart Wolfgang Amadeus Mozart Porgi, amor, qualche ristoro (1756-1791) from The Marriage of Figaro (1786) Rossini Gioachino Rossini Selva opaca, Recitative and Aria (1792-1868) from Guglielmo Tell (William Tell, 1829) Ms. Dyka • Ms. Gadeliya II. Shchetynsky Alexander Shchetynsky An Episode in the Life of the Poet, (b. 1960) an afterword to the opera Interrupted Letter (2014) World Premiere Ms. Ivakhiv • Ms. Gadeliya III. From Poetry to Art Songs 1: Settings of poems by Taras Shevchenko Shtoharenko Andriy Shtoharenko Yakby meni cherevyky (1902-1992) (If I had a pair of shoes, 1939) Silvestrov Valentin Silvestrov Proshchai svite (b. 1937) (Farewell world, from Quiet Songs, 1976) Shamo Ihor Shamo Zakuvala zozulen’ka (1925-1982) (A cuckoo in a verdant grove, 1958) Skoryk Myroslav Skoryk Zatsvila v dolyni (b. 1938) (A guelder-rose burst into bloom, 1962) Mussorgsky Modest Mussorgsky Hopak (1839-1881) from the opera Sorochynsky Fair (1880) Ms. Dyka • Ms. Gadeliya 2 Program — INTERMISSION — I V. Beethoven Ludwig van Beethoven Allegro vivace (1770-1827) from Sonata in G Major, Op. 30 (1801-1802) Vieuxtemps Henri Vieuxtemps Désespoir (1820-1881) from Romances sans paroles, Op. 7, No. 2 (c.1845) Ms. Ivakhiv • Ms. Gadeliya V. From Poetry to Art Songs 2: Settings of poems by Taras Shevchenko Lysenko Mykola Lysenko Oy, odna ya odna (1842-1912) (I’m alone, so alone, 1882) Rachmaninov Sergei Rachmaninov Poliubila ya na pechal’ svoyu, (1873-1943) Op. 8, No. 4 (I have given my love, 1893) Stetsenko Kyrylo Stetsenko Plavai, plavai, lebedon’ko (1882-1922) (Swim on, swim on, dear swan, 1903) Dankevych Konstantyn Dankevych Halia’s Aria (1905-1984) from the opera Nazar Stodolia (1960) VI. -
Cornerstones of the Ukrainian Violin Repertoire 1870 – Present Day
Cornerstones of the Ukrainian violin repertoire 1870 – present day Carissa Klopoushak Schulich School of Music McGill University Montreal, Quebec January 2013 A doctoral paper submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Music in Performance Studies © Carissa Klopoushak 2013 i Abstract: The unique violin repertoire by Ukrainian composers is largely unknown to the rest of the world. Despite cultural and political oppression, Ukraine experienced periods of artistic flurry, notably in the 1920s and the post-Khrushchev “Thaw” of the 1960s. During these exciting and experimental times, a greater number of substantial works for violin began to appear. The purpose of the paper is one of recovery, showcasing the cornerstone works of the Ukrainian violin repertoire. An exhaustive history of this repertoire does not yet exist in any language; this is the first resource in English on the topic. This paper aims to fill a void in current scholarship by recovering this substantial but neglected body of works for the violin, through detailed discussion and analysis of selected foundational works of the Ukrainian violin repertoire. Focusing on Maxym Berezovs´kyj, Mykola Lysenko, Borys Lyatoshyns´kyj, Valentyn Sil´vestrov, and Myroslav Skoryk, I will discuss each composer's life, oeuvre at large, and influences, followed by an in-depth discussion of his specific cornerstone work or works. I will also include cultural, musicological, and political context when applicable. Each chapter will conclude with a discussion of the reception history of the work or works in question and the influence of the composer on the development of violin writing in Ukraine.