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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. -
The Ukrainian Weekly 1982, No.34
www.ukrweekly.com ono Published by the Ukrainian National Association Inc., a fraternal non-profit association! rainian Weekly Vol. L No. 34 THE UKRAINIAN WEEKLY SUNDAY, AUGUST 22. 1982 25 cents Bleak prospects International Plast Jamboree opens by Roman Juzeniw "novaky" (boys age 7 -11) is directed by Wsewolod Hnatczuk, commander; for Poland's Taras Kowcz, commander; "novachky" Roman Kopach, first assistant; Oleh EAST CHATHAM, N.Y. - Nearly (girls age 7 - 11) - Sonia Slobodian, Hordienko, second assistant; Andrij 1,500 Phut youths, senior members commander; "yunaky" (boys age 11 - Lastowecky, third assistant; Borys young people and parents were present at the Sun 17) — Petro Sodol, commander; "yu- Loza, "bunchuzhnyi"; Natalie Lon- WARSAW - Soaring unemploy day, August 15, official opening cere nachky" (girls age 11 - 17) - Maria chyna, secretary; the Revs. Bohdan ment, the unavailability of housing monies of the nine-day International Motyl, commander; "starshi plastuny" Smyk and Artemij Selepyna, respective and a creeping disillusionment with Plast Jamboree being held at the (members age 18 - 31) — Christine ly, Catholic and Orthodox chaplains; the Communist system following the Vovcha Tropa (Wolf's Trek) Plast camp Panchuk, commander; seniors (over Ihor Korol, archivist; Dmytro Ko- government crackdown on the Soli site here in upstate New York. age 31) — Theodozij Krupa, comman sovych, treasurer. darity free trade union has alienated The jamboree, the sixth held on the der, and Plastpryiat and guests - Petro In addition, there are over 25 other Poland's young people, leading many North American continent, continues Bokalo, commander. officers assigned various duties during to drop out of society altogether. -
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. -
Contrasts International Contemporary Music Festival Lviv / 01-11.10.2015
musical art of the XXI century CONTRASTS INTERNATIONAL CONTEMPORARY MUSIC FESTIVAL LVIV / 01-11.10.2015 01.10.2015 / Thursday 19:00 / S. Lyudkevych Concert Hall / MUSICAL PREMIERES OF 21ST CENTURY Academia Lviv Chamber Orchestra/UA Arthur Mykytka/UA, artistic manager & concert master / Myroslav Skoryk/UA, artistic director Gryphon Trio/CA: Annalee Patipatanakoon, violin Roman Borys, cello James Parker, piano Zhanna Masliak/UA, flute Zoia Khodan/UA, flute Ricardo Calderoni/BR, conductor Ihor Pylatiuk/UA, conductor Heitor Villa-Lobos/BR/1887-1959/ Aria from Bachianas Brasileiras No. 5 (1938/45)▲ Transcription for string orchestra by Myroslav Skoryk (1984) Edmundo Villani-Côrtes/BR/*1930/ Catedral da Sé for string orchestra (1955)▲ Ricardo Calderoni/BR Double Concerto for two flutes and orchestra (1980)▲ Claudio Santoro/BR/1919-1989/ Ponteio for string orchestra (1953)▲ Vladimir Genin/RU-DE/*1958/ Threnody for the Victims in Ukraine for strings (2014)** Vitaly Vyshynsky/UA/*1983/ Dodes’ka-den for string orchestra and percussion (2011)▲ Bohdana Frolyak/UA/*1968/ Music of Dreams for violin, cello, piano and string orchestra (2015)* * - world premiere ** - Ukrainian premiere ▲ - for the first time on Contrasts Performance of Gryphon Trio was made possible with support from the Ukrainian Canadian Foundation of Taras Shevchenko 02.10.2015 / Friday 11:00 / Art-café Kvartyra 35 Coffee with a composer: Alexander Shchetynsky/UA conversation on the theme: What is opera? moderator – Vitaly Vyshynskyi/UA 16:00 / Foyer of Lviv Philharmonic / Opening -
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. -
Becoming Soviet: Lost Cultural Alternatives In
BECOMING SOVIET: LOST CULTURAL ALTERNATIVES IN UKRAINE, 1917-1933 Olena Palko, MA, BA (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of East Anglia School of History December 2016© ‘This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition any quotation or extract must include full attribution.’ Abstract This doctoral thesis investigates the complex and multi-faceted process of the cultural sovietisation of Ukraine. The study argues that different political and cultural projects of a Soviet Ukraine were put to the test during the 1920s. These projects were developed and executed by representatives of two ideological factions within the Communist Party of Bolsheviks of Ukraine: one originating in the pre-war Ukrainian socialist and communist movements, and another with a clear centripetal orientation towards Moscow. The representatives of these two ideological horizons endorsed different approaches to defining Soviet culture. The unified Soviet canon in Ukraine was an amalgamation of at least two different Soviet cultural projects: Soviet Ukrainian culture and Soviet culture in the Ukrainian language. These two visions of Soviet culture are examined through a biographical study of two literary protagonists: the Ukrainian poet Pavlo Tychyna (1891-1967) and the writer Mykola Khvyl'ovyi (1893-1933). Overall, three equally important components, contributing to Ukraine’s sovietisation, are discussed: the power struggle among the Ukrainian communist elites; the manipulation of the tastes and expectations of the audience; and the ideological and aesthetic evolution of Ukraine’s writers in view of the first two components. -
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS a Discography Of
RUSSIAN, SOVIET & POST-SOVIET CONCERTOS A Discography of CDs and LPs Prepared by Michael Herman Edited by Stephen Ellis Composers H-P GAGIK HOVUNTS (see OVUNTS) AIRAT ICHMOURATOV (b. 1973) Born in Kazan, Tatarstan, Russia. He studied clarinet at the Kazan Music School, Kazan Music College and the Kazan Conservatory. He was appointed as associate clarinetist of the Tatarstan's Opera and Ballet Theatre, and of the Kazan State Symphony Orchestra. He toured extensively in Europe, then went to Canada where he settled permanently in 1998. He completed his musical education at the University of Montreal where he studied with Andre Moisan. He works as a conductor and Klezmer clarinetist and has composed a sizeable body of music. He has written a number of concertante works including Concerto for Viola and Orchestra No1, Op.7 (2004), Concerto for Viola and String Orchestra with Harpsicord No. 2, Op.41 “in Baroque style” (2015), Concerto for Oboe and Strings with Percussions, Op.6 (2004), Concerto for Cello and String Orchestra with Percussion, Op.18 (2009) and Concerto for Piano and Orchestra, Op 40 (2014). Concerto Grosso No. 1, Op.28 for Clarinet, Violin, Viola, Cello, Piano and String Orchestra with Percussion (2011) Evgeny Bushko/Belarusian State Chamber Orchestra ( + 3 Romances for Viola and Strings with Harp and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) 3 Romances for Viola and Strings with Harp (2009) Elvira Misbakhova (viola)/Evgeny Bushko/Belarusian State Chamber Orchestra ( + Concerto Grosso No. 1 and Letter from an Unknown Woman) CHANDOS CHAN20141 (2019) ARSHAK IKILIKIAN (b. 1948, ARMENIA) Born in Gyumri Armenia.