ALGORITHMS OF ETHNO-NATIONAL IDENTIFICATION IN CHORAL ARRANGEMENTS BY ANATOLIІ KOS-ANATOLSKYІ OF LEMKOS’ FOLK SONGS

Abstract

The research aim. Galician musical culture of the turn of the 19th and 20th centuries is a unique example of efforts to create a national compositional style, which as a notion, due to certain historical and political conditions literally had no right to self-actualization. Such a situation existed even in ancient historical times, when Ukraine itself did not exist as such, (there was only "Little Russia"). Accordingly, in later historical times, as is known, the Ukrainian population also did not have its geographical and ethnic autonomy: numerous ethnographic environments were literally distributed among the legal encroachments of neighboring states. But in between, there was a purely Galician environment, which, despite the vicissitudes of statehood, sought educational and professional improvement, resorting to education in prestigious European educational institutions. In particular, Anatolii Yosypovych Kos (pseudonym – Kos-Anatolskyi – a native of Kolomyia), under the guidance of prof. Shukhevych and niece of Solomiya Krushelnytska Odarka Bandrivska from vocals and prof. Severynа Barbaha in music-theoretical disciplines and composition, still passed the exam for the title of "teacher of a music gymnasium" (and this despite the fact that he had to play at youth parties and restaurants in order to financially support his family). The situation with Kos-Anatolskyi's employment as a musician changed only after the Second World War: in 1951, he was invited to teach music-theoretical disciplines at the Lviv Conservatory (and this despite the fact that by that time he had obtained a lawyer's qualification), and in 1954 obtains the academic title of associate professor. Therefore, the article formulates the question of the creative method of Anatolii Kos-Anatolskyi (1909–1983) in relation to the algorithms of creating a national compositional style - a phenomenon that has become especially relevant in the postmodern era of self-development of Ukrainian musicological thought regarding this issue. Methodology: in this case, this issue is considered on the basis of the genre of folk song processing – the most effective creative algorithm at the stage of formation of the Ukrainian national composer school. Moreover, the author's method of processing folklore material in the matrices of its ethnic form of identity is taken into account, which undoubtedly has the ability to be transformed into such an "open" form of identity in relation to universal human experience, as a national form of identity. The scientific novelty of the proposed research lies in the extraordinary specification of issues of ethnic and national forms of identification as an overriding attribute of the formation of the "national compositional style" category. The conclusions of the presented research are formulated as follows: the sample of choral arrangements of Lemkos’ folk songs presented in the choral work of A. Kos-Anatolskyi is a model algorithm for creative work with folklore material, since it is about the ethno-national identification of an individual composer's style with the matrices of general academic musical experience. Therefore, the article formulates the question of the creative method of Anatolii Kos-Anatolskyi regarding the algorithms of creating a national compositional style – a phenomenon that in the postmodern era of self-development of Ukrainian musicological thought on this issue has acquired special relevance. In this case, this question is considered on the basis of the genre of folk song processing – the most effective creative algorithm at the stage of formation of the Ukrainian national composer school. Moreover, the author's method of processing folklore material in the matrices of its ethnic form of identity is taken into account, which undoubtedly has the ability to be transformed into such an "open" form of identity in relation to universal human experience, as a national form of identity.