Tradition and Innovation in the Bandura Performances of Vasyl Yemetz
In the XX century, specific individuals in the Ukrainian Diaspora preserved, developed and propagated aspects of bandura culture and tradition, much of which disappeared in Ukraine in the light of new political realities. This included such aspects as the loss of the Kharkiv type bandura, the Kharki...
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| Format: | Article |
| Language: | English |
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KNUKiM Publishing Centre
2020-06-01
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| Series: | Вісник Київського національного університету культури і мистецтв. Серія: Музичне мистецтво |
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| Online Access: | http://musical-art.knukim.edu.ua/article/view/204339 |
| _version_ | 1828811477758246912 |
|---|---|
| author | Victor Mishalow |
| author_facet | Victor Mishalow |
| author_sort | Victor Mishalow |
| collection | DOAJ |
| description | In the XX century, specific individuals in the Ukrainian Diaspora preserved, developed and propagated aspects of bandura culture and tradition, much of which disappeared in Ukraine in the light of new political realities. This included such aspects as the loss of the Kharkiv type bandura, the Kharkiv method and technique of playing, and its traditional repertoire. During the 20th century, Vasyl Yemetz made a significant contribution to the development of the modern bandura and the establishment of the solo concert performance on the instrument. This study is an attempt to glean new information regarding traditional playing techniques he learned as a youth and new techniques he later developed, and also a reevaluation of his repertoire based on reminiscences and recordings made by the author in 1979.
The purpose of this research is to focus on traditional, transformational and innovational aspects in the performance practice and playing technique of Vasyl Yemetz; to reevaluate those aspects of the kobzar tradition that he retained, and those that he modified in his concert performance practices, and to compare these to contemporary practices later developed in Ukraine.
The research methodology is grounded in historic, systemic, sociological and cultural approach and related methods of scientific study, in particular, a historic-chronological analysis of the bandura playing techniques used by Vasyl Yemetz, in particular, the method of systematic classification and complex analysis of the playing techniques that he retained and also later developed. The study and analysis are directed toward the bandura playing technique and repertoire of Vasyl Yemetz and his philosophy regarding his approach to the bandura. The materials used in the preparation of this study include books and articles regarding the bandura, and specifically about Vasyl Yemetz, recordings on cassette tape and photographs made by the author. Separate conclusions and generalizations were made on the basis of personal interaction with the informant and also notes taken at that time.
The scientific novelty of the research is the introduction into scientific circulation of an organological and ergological analysis of the activities of bandurist Vasyl Yemetz, the tradition, systematization of the various adaptations, and the development of independent innovations in the performance practice by this artist on this traditional Ukrainian folk instrument.
Conclusions. Vasyl Yemetz was a unique man and musician. He made a significant impact on the development of bandura playing technique, repertoire and instrument construction. The artist combined in his work a traditional kobzar playing and innovations of modern concert performance. Audio recordings and photographic materials made during personal meetings contributed to the rethinking of his artistic, philosophical, cultural achievements, especially in the aspects of playing techniques and the formation of concert repertoire. Musical terms developed and implemented by the performer to describe playing techniques can still be used nowadays in the technique of bandura playing. The audio recordings of the melodies made during the interview contributed to reconstruct his repertoire and to involve these works actively in the concert repertoire of modern bandura players. The interrelation of technical performing techniques and design features of the instrument, which explains the motives of the philosophical understanding of the bandura art role in the world cultural process, is highlighted. |
| first_indexed | 2024-12-12T09:28:28Z |
| format | Article |
| id | doaj.art-b1df586fa36545bfa17c2307ff9fca32 |
| institution | Directory Open Access Journal |
| issn | 2616-7581 2617-4030 |
| language | English |
| last_indexed | 2024-12-12T09:28:28Z |
| publishDate | 2020-06-01 |
| publisher | KNUKiM Publishing Centre |
| record_format | Article |
| series | Вісник Київського національного університету культури і мистецтв. Серія: Музичне мистецтво |
| spelling | doaj.art-b1df586fa36545bfa17c2307ff9fca322022-12-22T00:28:57ZengKNUKiM Publishing CentreВісник Київського національного університету культури і мистецтв. Серія: Музичне мистецтво2616-75812617-40302020-06-0131597010.31866/2616-7581.3.1.2020.204339204339Tradition and Innovation in the Bandura Performances of Vasyl YemetzVictor Mishalow0Університет МонашаIn the XX century, specific individuals in the Ukrainian Diaspora preserved, developed and propagated aspects of bandura culture and tradition, much of which disappeared in Ukraine in the light of new political realities. This included such aspects as the loss of the Kharkiv type bandura, the Kharkiv method and technique of playing, and its traditional repertoire. During the 20th century, Vasyl Yemetz made a significant contribution to the development of the modern bandura and the establishment of the solo concert performance on the instrument. This study is an attempt to glean new information regarding traditional playing techniques he learned as a youth and new techniques he later developed, and also a reevaluation of his repertoire based on reminiscences and recordings made by the author in 1979. The purpose of this research is to focus on traditional, transformational and innovational aspects in the performance practice and playing technique of Vasyl Yemetz; to reevaluate those aspects of the kobzar tradition that he retained, and those that he modified in his concert performance practices, and to compare these to contemporary practices later developed in Ukraine. The research methodology is grounded in historic, systemic, sociological and cultural approach and related methods of scientific study, in particular, a historic-chronological analysis of the bandura playing techniques used by Vasyl Yemetz, in particular, the method of systematic classification and complex analysis of the playing techniques that he retained and also later developed. The study and analysis are directed toward the bandura playing technique and repertoire of Vasyl Yemetz and his philosophy regarding his approach to the bandura. The materials used in the preparation of this study include books and articles regarding the bandura, and specifically about Vasyl Yemetz, recordings on cassette tape and photographs made by the author. Separate conclusions and generalizations were made on the basis of personal interaction with the informant and also notes taken at that time. The scientific novelty of the research is the introduction into scientific circulation of an organological and ergological analysis of the activities of bandurist Vasyl Yemetz, the tradition, systematization of the various adaptations, and the development of independent innovations in the performance practice by this artist on this traditional Ukrainian folk instrument. Conclusions. Vasyl Yemetz was a unique man and musician. He made a significant impact on the development of bandura playing technique, repertoire and instrument construction. The artist combined in his work a traditional kobzar playing and innovations of modern concert performance. Audio recordings and photographic materials made during personal meetings contributed to the rethinking of his artistic, philosophical, cultural achievements, especially in the aspects of playing techniques and the formation of concert repertoire. Musical terms developed and implemented by the performer to describe playing techniques can still be used nowadays in the technique of bandura playing. The audio recordings of the melodies made during the interview contributed to reconstruct his repertoire and to involve these works actively in the concert repertoire of modern bandura players. The interrelation of technical performing techniques and design features of the instrument, which explains the motives of the philosophical understanding of the bandura art role in the world cultural process, is highlighted.http://musical-art.knukim.edu.ua/article/view/204339бандуракобзарвасиль ємецьтехніка гриукраїнська діаспора |
| spellingShingle | Victor Mishalow Tradition and Innovation in the Bandura Performances of Vasyl Yemetz Вісник Київського національного університету культури і мистецтв. Серія: Музичне мистецтво бандура кобзар василь ємець техніка гри українська діаспора |
| title | Tradition and Innovation in the Bandura Performances of Vasyl Yemetz |
| title_full | Tradition and Innovation in the Bandura Performances of Vasyl Yemetz |
| title_fullStr | Tradition and Innovation in the Bandura Performances of Vasyl Yemetz |
| title_full_unstemmed | Tradition and Innovation in the Bandura Performances of Vasyl Yemetz |
| title_short | Tradition and Innovation in the Bandura Performances of Vasyl Yemetz |
| title_sort | tradition and innovation in the bandura performances of vasyl yemetz |
| topic | бандура кобзар василь ємець техніка гри українська діаспора |
| url | http://musical-art.knukim.edu.ua/article/view/204339 |
| work_keys_str_mv | AT victormishalow traditionandinnovationinthebanduraperformancesofvasylyemetz |