GENRE ORIGINS AND WORLDVIEWS OF THE GALICIAN SPIWOHRA

Abstract

Galician spiwohra is one of the genres that needs more extensive research in the reconstruction of the holistic panoramic image of the Ukrainian musical and theatrical heritage. Silenced throughout the Soviet period through the authorship of priests - composers and playwrights, the spiwohra needs both a more detailed study in its inseparable connection with various artistic sources, and clarifying the conditions of its return to the modern theater stage. The aim of the article is to find out the main national origins and Western European prototypes of the spiwohra of composerspriests of the second half of the XIX century. and its focus on the educational function among Ukrainians in Galicia The research methodology is reflected in the following tasks: 1) analysis of basic research on the work of composerspriests and the spiwohra in Ukrainian musicology; 2) distinguishing the main national and Western European prototypes of the Ukrainian Galician spiwohra; 3) substantiation of ethical and didactic orientation of the spiwohra; 4) generalization and disclosure of prospects for further research on this topic. Scientific novelty. The article systematizes the origins of the musical-scenic genre of spiwohra, and traces the ways and means of achieving various goals by composers-priests in this genre: the assertion of their national identity; representation of one's own spiritual tradition before representatives of other nations, establishment of cultural and artistic ties between neighboring nations Conclusion. Composers-priests in the spiwohra consistently nurtured the direction of performing arts, the importance of which for national culture is difficult to overestimate and which in modern conditions has not lost its relevance. His influence, despite all the avant-garde and postmodern modifications of modern theater, remains significant in the search for national priorities of performing arts. Undoubtedly, the musical segment of the Galician choir has received an independent artistic "biography" for many decades. Both the folk song, naturally included in the plot of the dramatic action, and the music, which was specially written for individual performances by composers-priests, if considered holistically, systematically, constitute a very voluminous layer of Ukrainian culture.