Suchergebnisse

Over the centuries, genres and forms that highlight society's fundamental problems and needs have been developed in the Ukrainian culture. The prolonged absence of independence and difficult political circumstances in the life of the Ukrainian ethnic group led to the distinction of national and patriotic themes in various artistic manifestations. This is especially evident in folk songs and legends, which are well remembered and most quickly passed on in oral practice. With the development of musical art, the spiritual song also developed. The process of inception and development of spiritual songs in Ukrainian culture was long-lasting. The most powerful stage fell on the Baroque era; however, even after the decades of Romanticism, the spiritual music remained an essential component of Ukrainians' national religious and musical culture. This was probably due to the intimacy of the form to the ordinary folk songs and the current content, which reflected the pressing problems of society, the most important historical events, and liturgical holidays or Christian symbols. Therefore, the article deals with some aspects of the content of Ukrainian spiritual songs of the 17–18thcenturies. For the analysis were selected such songs: spiritual songs "Zlyi Tataryne" ("Evil Tatar"), written not later than the third quarter of the 17thcentury, and "Veselo Spivaite, Chelom Udariaite" ("Sing Merrily, Hit with Your Forehead"), written in the late 17th– early 18thcenturies. These two songs are the most common examples of prayers to God, saints, and the Mother of God for intercession from conquering neighbors and Arians. The appeal to the Holy Virgin, glorified in one of the spiritual songs as "The Immaculate Virgin, Mother of the Ruthenia", was significantly often heard.1And this tradition was established in the poetic texts of Christian hymnography. It was found that spiritual songs combine religious and historical motives aimed at reflecting social needs alongside traditional prayers. The analysis of the selected songs is carried out, indicating the lexical parallels of hymnography chants and spiritual songs. This emphasizes the continuity and relevance of the liturgical chant practice in the Baroque era. Thus, the Ukrainian culture combined the traditions of ritual church services and the Western European Catholic-Protestant experience of spiritual chants. This emphasizes the importance of the Ukrainian spiritual song in the national artistic treasury. ; У статті розглянуто окремі аспекти змісту українських духовних пісень XVII–XVIIІ ст. Виявлено, що в окремих піснях поєднуються релігійні та історичні мотиви, спрямовані на відображення суспільних потреб поруч із традиційними молитовними зворотами. Підкреслено роль духовної пісні у педагогічно-виховному контексті, що особливо важливо в контексті тяглості музично-поетичних текстів від бароко до середньовіччя. Відтак проведено аналіз вибраних пісень, який свідчить про лексичні паралелі гимнографічних піснеспівів і духовних пісень. Підкреслено тяглість і актуальність в барокову добу півчої літургійної практики. Це зумовило поєднання в українській культурі традицій обрядових богослужінь і західноєвропейський католицько-протестантський досвід духовного співу. В такий спосіб увиразнено і обґрунтовано вагомість української духовної пісні в мистецькій національній скарбниці.

Over the centuries, genres and forms that highlight society's fundamental problems and needs have been developed in the Ukrainian culture. The prolonged absence of independence and difficult political circumstances in the life of the Ukrainian ethnic group led to the distinction of national and patriotic themes in various artistic manifestations. This is especially evident in folk songs and legends, which are well remembered and most quickly passed on in oral practice. With the development of musical art, the spiritual song also developed. The process of inception and development of spiritual songs in Ukrainian culture was long-lasting. The most powerful stage fell on the Baroque era; however, even after the decades of Romanticism, the spiritual music remained an essential component of Ukrainians' national religious and musical culture. This was probably due to the intimacy of the form to the ordinary folk songs and the current content, which reflected the pressing problems of society, the most important historical events, and liturgical holidays or Christian symbols. Therefore, the article deals with some aspects of the content of Ukrainian spiritual songs of the 17–18thcenturies. For the analysis were selected such songs: spiritual songs "Zlyi Tataryne" ("Evil Tatar"), written not later than the third quarter of the 17thcentury, and "Veselo Spivaite, Chelom Udariaite" ("Sing Merrily, Hit with Your Forehead"), written in the late 17th– early 18thcenturies. These two songs are the most common examples of prayers to God, saints, and the Mother of God for intercession from conquering neighbors and Arians. The appeal to the Holy Virgin, glorified in one of the spiritual songs as "The Immaculate Virgin, Mother of the Ruthenia", was significantly often heard.1And this tradition was established in the poetic texts of Christian hymnography. It was found that spiritual songs combine religious and historical motives aimed at reflecting social needs alongside traditional prayers. The analysis of the selected songs is carried out, indicating the lexical parallels of hymnography chants and spiritual songs. This emphasizes the continuity and relevance of the liturgical chant practice in the Baroque era. Thus, the Ukrainian culture combined the traditions of ritual church services and the Western European Catholic-Protestant experience of spiritual chants. This emphasizes the importance of the Ukrainian spiritual song in the national artistic treasury. ; У статті розглянуто окремі аспекти змісту українських духовних пісень XVII–XVIIІ ст. Виявлено, що в окремих піснях поєднуються релігійні та історичні мотиви, спрямовані на відображення суспільних потреб поруч із традиційними молитовними зворотами. Підкреслено роль духовної пісні у педагогічно-виховному контексті, що особливо важливо в контексті тяглості музично-поетичних текстів від бароко до середньовіччя. Відтак проведено аналіз вибраних пісень, який свідчить про лексичні паралелі гимнографічних піснеспівів і духовних пісень. Підкреслено тяглість і актуальність в барокову добу півчої літургійної практики. Це зумовило поєднання в українській культурі традицій обрядових богослужінь і західноєвропейський католицько-протестантський досвід духовного співу. В такий спосіб увиразнено і обґрунтовано вагомість української духовної пісні в мистецькій національній скарбниці.