THE NATIONAL IDENTITY BY BOHDAN VESELOVSKYI’S WORK IN THE CONTEXT OF THE POP MUSIC FORMATION IN MULTICULTURAL LVIV

Abstract

Among the «iconic» names of Ukrainian musical culture is Ivan-Bohdan Veselovskyi, whose activities in Lviv during the interwar twenties caused an «explosion» in the field of pop music. The aim of the article is to construct the features of national identity in the work by Bohdan Veselovskyi in the context of the pop music formation in multicultural Lviv. The scientific novelty consists in marking the features of national identity in the activities by Bohdan Veselovskyi and fellow artists in the multicultural Lviv of the interwar twenties of the 20th century. In conclusion to the article, it is noted that Ukrainian nationally identical pop music in multicultural Lviv during the interwar period of the 20th century had the following characteristics. This phenomenon arose from the need to create a Ukrainian entertainment center of national identity in the multinational Lviv urban socio-cultural environment with a dominant Polish influence; the creators were professional musicians ‒ graduates and students of the Lviv Conservatory, representatives of the younger generation from intelligent, nationally conscious Galician families, participants of «Plast», national liberation competitions, etc.; this phenomenon absorbed the advanced genre and stylistic trends of Western European and American entertainment music, as well as elements of the Lviv batyar song, and combined a dance (tango, foxtrot, etc.) basis and a national flavor; the song had a decisive influence on the further development of the musical pop scene of the city of Lviv and Galicia, as well as a significant impact on the Ukrainian pop scene as a whole, functioning even in the conditions of the underground and Stalinist bans, without the real names of its creators being announced; the Lviv pop song entered modern culture in the form of original retro compositions of «forgotten» and banned artists, as well as modern cover versions of hits of the last century. Bohdan Vesolovskyi, as well as Yaroslav Barnych, Anatol Kos-Anatolskyi and a number of other Galician artists in the 1920s and 1940s, while under Polish rule and in the brutal conditions of the German-Nazi and Bolshevik-Soviet regimes, created the first masterpieces of Ukrainian pop, full of features national identity, which laid the foundations for the future development of the national pop song, which became an eloquent symbol of Ukrainianness in the soviet era. At the same time, most of the creators of this genre, with the exception of A. Kos-Anatolskyi and some others, «scattered around the world», and their bright, colorful, fashionable work, often nameless, continued to sound, sometimes breaking out of the grip of Soviet totalitarianism. In her research, we see the prospects for further scientific research on the outlined topic.