Features of Sacred Music in the Context of the Ukrainian Baroque
The main goal of this article is the research of different genres of spiritual music in the Ukrainian baroque era. This music is decisive for an understanding of Ukrainian culture. In order to achieve this, research following methods was used: comparative-historical, sociocultural, structural, genre...
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MDPI AG
2022-01-01
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| Series: | Religions |
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| Online Access: | https://www.mdpi.com/2077-1444/13/2/88 |
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| author | Natalia Kovalchuk Olga Zosim Liudmyla Ovsiankina Irina Lomachinska Oksana Rykhlitska |
| author_facet | Natalia Kovalchuk Olga Zosim Liudmyla Ovsiankina Irina Lomachinska Oksana Rykhlitska |
| author_sort | Natalia Kovalchuk |
| collection | DOAJ |
| description | The main goal of this article is the research of different genres of spiritual music in the Ukrainian baroque era. This music is decisive for an understanding of Ukrainian culture. In order to achieve this, research following methods was used: comparative-historical, sociocultural, structural, genre-stylistic. Baroque appears as an intermediate between the Renaissance and Age of Enlightenment. Features of the broader character of the Ukrainian civilization explain its cruising between different cultures, correlating between Western culture and Eastern Orthodox culture. The cultural dimension of Ukraine was crossed by different religions: Orthodox, Catholic, Greek-Catholic, and different paths of Protestantism. This fact specified a music of this age. Two basic directions feature specific of spiritual singing of the Ukrainian baroque: partsong (“High baroque”) and spiritual song (“Middle baroque”). Partsong is represented by liturgical and paraliturgical (concerts) genres. This direction was unique because it was a synthesis of Eastern-Christian and Western-Christian tradition (mostly by Catholic musical tradition as multi-chorus composition, musical rhetoric). At the same time, partsong of the orthodox tradition was formed by liturgical tradition. A large influence on the Greek-Catholic church was a catholic music tradition, in which polyphony is not performed “acapella”, but with instrumental accompaniment. Spiritual song was more linked with the catholic tradition and less with the protestant one. It did not have any canonical orthodox genres, but was borrowed by text–music forms formed in Europe in the Age of late Renaissance and early Baroque period. Greek-Catholic tradition was more linked with catholic one. Therefore, this music had a sacred character, becoming a genre of liturgical music. Palimpsest in its confessional dimension became a distinctive feature of the Ukrainian Baroque and created a unique face of the Ukrainian liturgical music. |
| first_indexed | 2024-03-09T21:10:15Z |
| format | Article |
| id | doaj.art-9266c070b25e40229e1c4ca529b9145e |
| institution | Directory Open Access Journal |
| issn | 2077-1444 |
| language | English |
| last_indexed | 2024-03-09T21:10:15Z |
| publishDate | 2022-01-01 |
| publisher | MDPI AG |
| record_format | Article |
| series | Religions |
| spelling | doaj.art-9266c070b25e40229e1c4ca529b9145e2023-11-23T21:50:57ZengMDPI AGReligions2077-14442022-01-011328810.3390/rel13020088Features of Sacred Music in the Context of the Ukrainian BaroqueNatalia Kovalchuk0Olga Zosim1Liudmyla Ovsiankina2Irina Lomachinska3Oksana Rykhlitska4Department of Philosophy, Faculty of History and Philosophy, Borys Grinchenko Kyiv University, 04212 Kyiv, UkraineDepartment of Academic and Variety Vocal and Sound Directing, Institute of Contemporary Art, National Academy of Culture and Arts Management, 01015 Kyiv, UkraineDepartment of Philosophy, Faculty of History and Philosophy, Borys Grinchenko Kyiv University, 04212 Kyiv, UkraineDepartment of Philosophy, Faculty of History and Philosophy, Borys Grinchenko Kyiv University, 04212 Kyiv, UkraineDepartment of Ethics, Acteticks and Cultural Study, Faculty of Philosophy, Taras Shevchenko National University of Kyiv, 01601 Kyiv, UkraineThe main goal of this article is the research of different genres of spiritual music in the Ukrainian baroque era. This music is decisive for an understanding of Ukrainian culture. In order to achieve this, research following methods was used: comparative-historical, sociocultural, structural, genre-stylistic. Baroque appears as an intermediate between the Renaissance and Age of Enlightenment. Features of the broader character of the Ukrainian civilization explain its cruising between different cultures, correlating between Western culture and Eastern Orthodox culture. The cultural dimension of Ukraine was crossed by different religions: Orthodox, Catholic, Greek-Catholic, and different paths of Protestantism. This fact specified a music of this age. Two basic directions feature specific of spiritual singing of the Ukrainian baroque: partsong (“High baroque”) and spiritual song (“Middle baroque”). Partsong is represented by liturgical and paraliturgical (concerts) genres. This direction was unique because it was a synthesis of Eastern-Christian and Western-Christian tradition (mostly by Catholic musical tradition as multi-chorus composition, musical rhetoric). At the same time, partsong of the orthodox tradition was formed by liturgical tradition. A large influence on the Greek-Catholic church was a catholic music tradition, in which polyphony is not performed “acapella”, but with instrumental accompaniment. Spiritual song was more linked with the catholic tradition and less with the protestant one. It did not have any canonical orthodox genres, but was borrowed by text–music forms formed in Europe in the Age of late Renaissance and early Baroque period. Greek-Catholic tradition was more linked with catholic one. Therefore, this music had a sacred character, becoming a genre of liturgical music. Palimpsest in its confessional dimension became a distinctive feature of the Ukrainian Baroque and created a unique face of the Ukrainian liturgical music.https://www.mdpi.com/2077-1444/13/2/88Ukrainian baroqueborder character of the Ukrainian civilizationsacred music |
| spellingShingle | Natalia Kovalchuk Olga Zosim Liudmyla Ovsiankina Irina Lomachinska Oksana Rykhlitska Features of Sacred Music in the Context of the Ukrainian Baroque Religions Ukrainian baroque border character of the Ukrainian civilization sacred music |
| title | Features of Sacred Music in the Context of the Ukrainian Baroque |
| title_full | Features of Sacred Music in the Context of the Ukrainian Baroque |
| title_fullStr | Features of Sacred Music in the Context of the Ukrainian Baroque |
| title_full_unstemmed | Features of Sacred Music in the Context of the Ukrainian Baroque |
| title_short | Features of Sacred Music in the Context of the Ukrainian Baroque |
| title_sort | features of sacred music in the context of the ukrainian baroque |
| topic | Ukrainian baroque border character of the Ukrainian civilization sacred music |
| url | https://www.mdpi.com/2077-1444/13/2/88 |
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