Yevgeniya Ignatenko | National Music Academy of Ukraine (original) (raw)

Papers by Yevgeniya Ignatenko

In Singing Dialogue with God. Rediscovering the Masters of Orthodox Liturgical Chant of the Last Two Centuries. Ed. by C. C. Apintiliesei, Em. Dobre, Les Edi-tions du Cerf, 2024, Paris, p. 497–504., 2024

This short essay, devoted to Ukrainian Orthodox music of the twentieth and early twenty first cen... more This short essay, devoted to Ukrainian Orthodox music of the twentieth and early twenty first centuries contain two parts covering the Soviet era (1919-1991) and the years of Ukraine’s independence (since 1991). In the first part, the difficulties of the church and musical life of the atheistic Soviet era are indicated, and the achievements of Ukrainian musicology in the study of early church music are presented. The second part highlights the main trends in the development of Orthodox church music of independent Ukraine: the revival of early chant repertoire, the organization of sacred music festivals, the flourishing of the spiritual creativity of modern Ukrainian composers. Issues of current discussions about church music are outlined: what should be modern Orthodox music, how should church music be performed, which music is more suitable for worship, etc. The modern Ukrainian composer Tetiana Yashvili, who wrote many pages of sacred Orthodox music is presented.

Cuviosul Eustatie Protopsaltul şi Şcoala muzicalǎ de la Putna: studii şi articole. Putna: Editura Mitropolit Iacov Putneanul, 2023. Vol. 1., 2023

Our comparative study of Moldavian and Ukrainian-Belarusian manuscripts showed that the 16th-cent... more Our comparative study of Moldavian and Ukrainian-Belarusian manuscripts showed that the 16th-century Moldavian Anthologies contain all attributed Greek chants from Ukrainian and Belarusian Heirmologia. In the process of working with the Greek repertoire, we found out that Protopsaltes Evstatie of Putna’s Greek-language Cherubic Song of the plagal of the first mode Οἱ τὰ Χερουβεὶμ was included in the cycle of the ‘Greek’ kalophonic cherubic songs along with the works of Byzantine composers Ioannes Glykys, Manuel Chrysaphes and Anthimos Lavriotes. To date, Evstatie’s Cherubic Song has been attributed in Supraśl, Kuteino, Lavriv and three Manyava Heirmologia.
Keywords: Putna music school, Protopsaltes Evstatie of Putna’s Cherubic Song, Moldavian Anthologies, Ukrainian and Belarusian Heirmologia, Kyiv exegesis.

Scientific herald of Tchaikovsky National Music Academy of Ukraine. 2023. Issue 138, 2023

Relevance of the research. The persistent revival of early music in the twentieth century led to ... more Relevance of the research. The persistent revival of early music in the twentieth century led to a number of large and small discoveries that significantly enriched the history of European music. Byzantine music became one of the new continents that appeared on the map of European musicology in the twentieth century. The process of comprehending the millennial history of Byzantine music as an important component of European musical culture, as a musical expression of Christian culture, as a tradition that had a powerful influence on the whole of Europe is far from been completed. The revival of the Ukrainian monodic church repertoire, that we observe today, is accompanied by an active search for historical information and appropriate vocal man-ners and style that lead to the Greek-Byzantine tradition. Comparative studies of Byzantine and East Slavic musical manuscripts have enormous heuristic potential and open up the opportunity to represent the thousand-year history of Ukrainian music, and not be limited to its modern period.
The purpose of our work is to analyze the controversial concepts and approaches to un-derstanding the Byzantine church chant tradition (“Byzantium after Byzantium”, in the words of Nicolae Iorga, traditionalism versus historicism); to show the prospects of Byzantine-Slavic musi-cological research and the need for its actualization in Ukraine; to present the educational course “Byzantine Music: Theory and Practice”. Methodological framework. The study is based on historical-typological and comparative research methods.
Results and scientific novelty of the work. The experience of comprehending the Byzan-tine church chant tradition as an important component of European musical culture was analyzed, discussion concepts and approaches in the development of musical Byzantinology of the twenti-eth century were highlighted. The prospects and relevance of Byzantine-Slavic music research were shown. The necessity of studying Byzantine music in musical institutions in modern Ukraine was substantiated, the current status of development of Ukrainian musical Byzantine studies was analyzed. An educational program on Byzantine music was presented, and the range of related scientific and methodological discussion topics was outlined.
Keywords: Byzantine music, Byzantine-Slavic studies, Byzantine musicology, educa-tional course “Byzantine music: theory and practice”, music education in Ukraine.

IMS-RASMB, Series Musicologica Balcanica, 4, 2023, pp. 92-108., 2023

The late 16th – the beginning of the 17th century became a turning point for the development of t... more The late 16th – the beginning of the 17th century became a turning point for the development of the Ukrainian-Belarusian church chant tradition. The most important sign of its renewal was a change of musical semeiography. The five-line square Kyiv notation gradually replaced the znamena one of neumatic type.
The Ukrainian-Belarusian church repertoire was enriched by monodic Balkan chants (Bulgarian and Greek) and European-style polyphonic works. Such innovations were due to various factors which are discussed in this article. Borrowing Greek chants was a step towards the Greek East. Our attribution of kalophonic Greek chants, written in Ukrainian and Belarusian staff-notated manuscripts of the late 16th – 18th centuries, materializes this step with names and facts previously unknown to historians of Ukrainian, Belarusian and Byzantine music. The appearance of Ukrainian polyphonic music was a step towards the West, which testified to the mental openness of Ukrainians, since musical means (monophony or polyphony) for the most Orthodox residents of the Ukrainian and Belarusian lands of the Polish-Lithuanian Commonwealth, did not become a marker of confessional affiliation, although the idea of associating polyphony with Catholics circled in those days.
With the advent of polyphonic singing, the monophonic chant tradition has not disappeared. Often the Divine Liturgy itself was monophonic, and only the church concert was polyphonic. The Eastern tradition of church chant met with the Western one, they started coexisting, and this was the unique feature of the Ukrainian-Belarusian church music of the 17th century.

Rukopisna ta knižkova spadŝina Ukraïni

The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Be... more The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Belarusian staff-notated manuscripts of the late 16 th-18 th centuries proved their Eastern origin and the fact of borrowing. the question arises where Ukrainian and Belarusian singers mastered Greek-Byzantine chant. It is logical to assume that the Greek repertoire appeared thanks to Ukrainian-moldavian contacts, since the moldavian chant tradition, which flourished in the 16 th century, is based on the Byzantine one. the works of Greek-Byzantine composers make up most of the repertoire of the 16 th century moldavian manuscripts. the goal of the research is to compare the Greek repertoire of moldavian and Ukrainian-Belarusian musical manuscripts and to define the peculiarities of its fixation in middle Byzantine and kyiv staff notations. Methodology. A comparative method of studying Greek-Byzantine, moldavian and Ukrainian-Belarusian musical Євгенія і гнатенко on the development and renewal of Ukrainian and Belarusian church chant in the late 16 th-17 th centuries.

Analele Putnei, 2021

The connection between the Moldavian and Ukrainian-Belarusian chant traditions of the 16 th-18 th... more The connection between the Moldavian and Ukrainian-Belarusian chant traditions of the 16 th-18 th centuries seems very logical, given the territorial proximity of the Moldavian and Ukrainian lands and their belonging to a common Christian cultural space. This assumption is supported by the political, economic and ecclesiastical contacts established between the neighboring peoples of the time. At the same time, it is not easy to prove this connection at the level of the chant repertoires. Firstly, the comparative analysis of chant repertoires is complicated by the use of different musical notations. The famous manuscripts of the Putna Musical School of the 16 th century are written in Middle Byzantine notation 1. Znamenna semeiography was used in the Ukrainian and Belarusian lands in the 16 th century. Few manuscripts of this notation type have survived, and today it is impossible to

Рукописна та книжкова спадщина України, 2023

The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Be... more The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Belarusian staff-notated manuscripts of the late 16 th-18 th centuries proved their Eastern origin and the fact of borrowing. the question arises where Ukrainian and Belarusian singers mastered Greek-Byzantine chant. It is logical to assume that the Greek repertoire appeared thanks to Ukrainian-moldavian contacts, since the moldavian chant tradition, which flourished in the 16 th century, is based on the Byzantine one. the works of Greek-Byzantine composers make up most of the repertoire of the 16 th century moldavian manuscripts. the goal of the research is to compare the Greek repertoire of moldavian and Ukrainian-Belarusian musical manuscripts and to define the peculiarities of its fixation in middle Byzantine and kyiv staff notations. Methodology. A comparative method of studying Greek-Byzantine, moldavian and Ukrainian-Belarusian musical Євгенія і гнатенко on the development and renewal of Ukrainian and Belarusian church chant in the late 16 th-17 th centuries.

WSPÓŁPRACA ANDRZEJA SZWALBEGO Z UKRAIŃSKIMI MUZYKAMI W LATACH 1960–1970, 2018

O człowieku, który wyprzedzał akademickie teorie. Zamiast Wstępu. Część I Małgorzata Lisecka Muzy... more O człowieku, który wyprzedzał akademickie teorie. Zamiast Wstępu. Część I Małgorzata Lisecka Muzyka dawna-stan badań. Wybrane zagadnienia Elżbieta Szczurko Artystyczne idee Andrzeja Szwalbego w oczach toruńskiej krytyki muzycznej z lat 60. XX wieku Elżbieta Szczurko Pierwsze edycje festiwalu "Musica Antiqua Europae Orientalis" (1966-1978) na łamach toruńskiej prasy Aleksandra Kłaput-Wiśniewska Muzyka dawna w koncepcji Andrzeja Szwalbego-jedna idea, mnogość pomysłów Aleksandra Kłaput-Wiśniewska Lubostrońska Pracownia Wieku Oświecenia Urszula Bartkiewicz Muzyczne przesłanie Andrzeja Szwalbego-refleksje klawesynistki Tomasz Rzepa Kongresy i festiwale MAEO na radiowej antenie Michał Zieliński Collegium Vocale-kontynuator renesansowego nurtu repertuarowego Capelli Bydgostiensis Pro Musica Antiqua Stefan Pastuszewski Andrzej Szwalbe a samorząd lokalny Stefan Pastuszewski Andrzej Szwalbe w pamięci i świadomości bydgoszczan Andrzej Szwalbe w bydgoskiej przestrzeni publicznej-Fot. Anna Kopeć Bogna Derkowska-Kostkowska Polichromia z wątkiem kapeli w Pieraniu, czy jedyna w województwie kujawsko-pomorskim? Agnieszka Wysocka Pałac w Nawrze-niespełniona wizja o ośrodku kultury Włodzimierz Jastrzębski Wkład Andrzeja Szwalbe w rozwój nauki w Bydgoszczy Igor Savchuk Korespondencja Andrzeja Szwalbego z Onysją Szrejer-Tkaczenko w aspekcie polsko-ukraińskich związków kulturalnych w latach 1960-1970 Yevgeniya Ignatenko Współpraca Andrzeja Szwalbego z ukraińskimi muzykami w latach 1960-1970 Petr Šefl Moje setkání s Andrzejem Szwalbe Część II Edmund Heza Andrzej Szwalbe. W drodze do utworzenia w Bydgoszczy uczelni muzycznej 1946-1974

Наукові збірки Львівської національної музичної академії імені М. В. Лисенка, Вип. 47. Видавничий дім «Гельветика», 2021, с. 17–31., 2021

Досліджується грецький репертуар українських і білоруських Ірмолоїв кінця XVI-XVIIІ століть, який... more Досліджується грецький репертуар українських і білоруських Ірмолоїв кінця XVI-XVIIІ століть, який матеріалізує безпосередній зв'язок східнослов'янської та греко-візантійської традицій співу в окреслений період часу. Атрибуція значної кількості грецьких співів знаменує новий етап наукового осмислення грецького репертуару українських і білоруських Ірмолоїв кінця XVI-XVIIІ століть. Авторизація співів із ремаркою «грецкое» розв'язує чимало загадок, зокрема й основну щодо їх походження, проте водночас продукує нові. Мета роботи-систематизувати та представити нові напрями дослідження грецького репертуару, зокрема: зв'язок калофонічного стилю співу та ісихазму в українському контексті; особливості звуковисотної організації запозичених грецьких співів; питання музичної екзегези та розшифрування середньовізантійської нотації київською; спільний грецький репертуар молдавських та україно-білоруських рукописів тощо. Ці напрями дослідження вимагають подальшого розроблення в українському музикознавстві. Використовується порівняльний метод дослідження греко-візантійських, молдавських та україно-білоруських рукописів. Ключові слова: українські та білоруські Ірмолої, грецький репертуар, калофонічний спів, візантійська нотація, київська нотація, екзегеза.

Scientific collections of the Lviv National Music Academy named after M.V. Lysenko

Scientific herald of Tchaikovsky National Music Academy of Ukraine

Relevance and current status of research. The Kyiv collection of partes music, which is kept in t... more Relevance and current status of research. The Kyiv collection of partes music, which is kept in the Institute of Manuscript of V. Ι. Vernadsky National Library of Ukraine, is the largest in Ukraine. It includes about 700 choral works, and only a few dozen of them have been decoded, edited and published. In 2020, within the Musica sacra Ukraina project the author of this article decoded and prepared for performance three new partes concerts from the Kyiv collection. These are twelve-part anonymous concerts of the 1730 s – 40 s “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people”. The purpose of the study is to describe the Kyiv partes collection and the current status of its research; to outline the main steps of working with partes manuscripts: deciphering, score compiling and editing; to present deciphered concerts in the context of current research problems of European baroque music, such as the aesthetics of oddity, as well as musical symbolism and r...

Науковий вісник НМАУ ім. П. І. Чайковського. Київ, 2022, вип. 134, с. 51–68., 2022

Relevance and current status of research. The Kyiv collection of partes music, which is kept in t... more Relevance and current status of research. The Kyiv collection of partes music, which is kept in the Institute of Manuscript of V. Ι. Vernadsky National Library of Ukraine, is the largest in Ukraine. It includes about 700 choral works, and only a few dozen of them have been decoded, edited and published. In 2020, within the Musica sacra Ukraina project the author of this article decoded and prepared for performance three new partes concerts from the Kyiv collection. These are twelve-part anonymous concerts of the 1730 s – 40 s “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people”.
The purpose of the study is to describe the Kyiv partes collection and the current status of its research; to outline the main steps of working with partes manuscripts: deciphering, score compiling and editing; to present deciphered concerts in the context of current research problems of European baroque music, such as the aesthetics of oddity, as well as musical symbolism and rhetoric, which allow us to reveal the inextricable connection between the verbal and musical text of the works. Methodological framework. The work is based on proven methodologies of decoding and scientific editing of handwritten musical text, and methods of musical theoretical analysis are also used.
Results and scientific novelty of the work. Three anonymous twelve-part partes concerts of the 1730 s –1740 s from the Kyiv collection “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people” were deciphered, edited and analyzed. A comprehensive approach to studying Ukrainian baroque music is presented. It involves deciphering, editing (preparation for performance) and musicological interpretation of the work. The proposed musicological analysis, which is based on modern approaches to the analysis of baroque music, updates the European context of the Ukrainian baroque heritage.
Keywords: Kyiv Partes collection, Ukrainian Partes concert, symbolism and rhetoric in baroque music, Musica sacra Ukraina project, Partes works’ decoding and editing.

Relevance of the study. The revival of early music has become one of the leading cultural trends ... more Relevance of the study. The revival of early music has become one of the leading cultural trends of the 20th century. The musicians from the Soviet Union, including Ukraine have joined to this music branch after the Second World War. One of the artistic events that brought them together was the International Early Music Festival and Congress of the Central and Eastern Europe “Musica Antiqua Europae Orientalis” (MAEO), which had been taking place every three years since 1966 in the Polish city Bydgoszcz.The main objective of our study is to collect and analyze the materials of the Soviet press devoted to the forum in Bydgoszcz. There are the articles written by Yu. Keldysh, E. Alekseeva, N. Gerasymova-Persydska in the musical journals “Soviet music”, “Musical life”, “Music”. The discussion on the topics proposed by the forum participants has been continued.The methods of analysis and synthesis are applied.Results and their significance. The Polish International Early Music Festival a...

Relevance of study. Attribution of the Greek chants from Ukrainian and Belarusian Heirmologia of ... more Relevance of study. Attribution of the Greek chants from Ukrainian and Belarusian Heirmologia of the late 16th–18th centuries marks a new stage of scientific understanding of the Greek repertoire in the Ukrainian-Belarusian church chant tradition. The effectiveness of the comparative study of Ukrainian-Belarusian and Greek-Byzantine musical manuscripts has provided knowledge of peculiarities of the Byzantine notation in historical development and traditional methods of its study. Thus, the methodological task of the researcher of the Greek chants recorded in the Ukrainian and Belarusian manuscripts is to comprehend and analyze the material based on the approaches and concepts developed in the authentic tradition and Byzantine musicology.The objectives of the article are 1) to characterize the main research methodologies of the Byzantine notation, developed in the twentieth century; 2) to present the Greek chants from the staffnotated Ukrainian and Belarusian Heirmologia of the late ...

Kallistrat’s Greek Oktoechos of 1769: New Research Results, 2022

Historical information. Monastic fraternity of Saint Paisius in Dragomirna. Chants with Greek tex... more Historical information. Monastic fraternity of Saint Paisius in Dragomirna. Chants with Greek text. Attribution of Cherubic songs and Communion verses from Kallistrat’s Oktoechos and establishing matches with Anthologies Sinai 1477 and St. Petersburg 238.

Часопис Національної музичної академії України ім.П.І.Чайковського, 2019

Ігнатенко Євгенія Василівна-кандидат мистецтвознавства, доцент кафедри теорії музики Національної... more Ігнатенко Євгенія Василівна-кандидат мистецтвознавства, доцент кафедри теорії музики Національної музичної академії України імені П. І. Чайковського.

Ukrainian musicology, 2018

Scientific herald of Tchaikovsky National Music Academy of Ukraine

In Singing Dialogue with God. Rediscovering the Masters of Orthodox Liturgical Chant of the Last Two Centuries. Ed. by C. C. Apintiliesei, Em. Dobre, Les Edi-tions du Cerf, 2024, Paris, p. 497–504., 2024

This short essay, devoted to Ukrainian Orthodox music of the twentieth and early twenty first cen... more This short essay, devoted to Ukrainian Orthodox music of the twentieth and early twenty first centuries contain two parts covering the Soviet era (1919-1991) and the years of Ukraine’s independence (since 1991). In the first part, the difficulties of the church and musical life of the atheistic Soviet era are indicated, and the achievements of Ukrainian musicology in the study of early church music are presented. The second part highlights the main trends in the development of Orthodox church music of independent Ukraine: the revival of early chant repertoire, the organization of sacred music festivals, the flourishing of the spiritual creativity of modern Ukrainian composers. Issues of current discussions about church music are outlined: what should be modern Orthodox music, how should church music be performed, which music is more suitable for worship, etc. The modern Ukrainian composer Tetiana Yashvili, who wrote many pages of sacred Orthodox music is presented.

Cuviosul Eustatie Protopsaltul şi Şcoala muzicalǎ de la Putna: studii şi articole. Putna: Editura Mitropolit Iacov Putneanul, 2023. Vol. 1., 2023

Our comparative study of Moldavian and Ukrainian-Belarusian manuscripts showed that the 16th-cent... more Our comparative study of Moldavian and Ukrainian-Belarusian manuscripts showed that the 16th-century Moldavian Anthologies contain all attributed Greek chants from Ukrainian and Belarusian Heirmologia. In the process of working with the Greek repertoire, we found out that Protopsaltes Evstatie of Putna’s Greek-language Cherubic Song of the plagal of the first mode Οἱ τὰ Χερουβεὶμ was included in the cycle of the ‘Greek’ kalophonic cherubic songs along with the works of Byzantine composers Ioannes Glykys, Manuel Chrysaphes and Anthimos Lavriotes. To date, Evstatie’s Cherubic Song has been attributed in Supraśl, Kuteino, Lavriv and three Manyava Heirmologia.
Keywords: Putna music school, Protopsaltes Evstatie of Putna’s Cherubic Song, Moldavian Anthologies, Ukrainian and Belarusian Heirmologia, Kyiv exegesis.

Scientific herald of Tchaikovsky National Music Academy of Ukraine. 2023. Issue 138, 2023

Relevance of the research. The persistent revival of early music in the twentieth century led to ... more Relevance of the research. The persistent revival of early music in the twentieth century led to a number of large and small discoveries that significantly enriched the history of European music. Byzantine music became one of the new continents that appeared on the map of European musicology in the twentieth century. The process of comprehending the millennial history of Byzantine music as an important component of European musical culture, as a musical expression of Christian culture, as a tradition that had a powerful influence on the whole of Europe is far from been completed. The revival of the Ukrainian monodic church repertoire, that we observe today, is accompanied by an active search for historical information and appropriate vocal man-ners and style that lead to the Greek-Byzantine tradition. Comparative studies of Byzantine and East Slavic musical manuscripts have enormous heuristic potential and open up the opportunity to represent the thousand-year history of Ukrainian music, and not be limited to its modern period.
The purpose of our work is to analyze the controversial concepts and approaches to un-derstanding the Byzantine church chant tradition (“Byzantium after Byzantium”, in the words of Nicolae Iorga, traditionalism versus historicism); to show the prospects of Byzantine-Slavic musi-cological research and the need for its actualization in Ukraine; to present the educational course “Byzantine Music: Theory and Practice”. Methodological framework. The study is based on historical-typological and comparative research methods.
Results and scientific novelty of the work. The experience of comprehending the Byzan-tine church chant tradition as an important component of European musical culture was analyzed, discussion concepts and approaches in the development of musical Byzantinology of the twenti-eth century were highlighted. The prospects and relevance of Byzantine-Slavic music research were shown. The necessity of studying Byzantine music in musical institutions in modern Ukraine was substantiated, the current status of development of Ukrainian musical Byzantine studies was analyzed. An educational program on Byzantine music was presented, and the range of related scientific and methodological discussion topics was outlined.
Keywords: Byzantine music, Byzantine-Slavic studies, Byzantine musicology, educa-tional course “Byzantine music: theory and practice”, music education in Ukraine.

IMS-RASMB, Series Musicologica Balcanica, 4, 2023, pp. 92-108., 2023

The late 16th – the beginning of the 17th century became a turning point for the development of t... more The late 16th – the beginning of the 17th century became a turning point for the development of the Ukrainian-Belarusian church chant tradition. The most important sign of its renewal was a change of musical semeiography. The five-line square Kyiv notation gradually replaced the znamena one of neumatic type.
The Ukrainian-Belarusian church repertoire was enriched by monodic Balkan chants (Bulgarian and Greek) and European-style polyphonic works. Such innovations were due to various factors which are discussed in this article. Borrowing Greek chants was a step towards the Greek East. Our attribution of kalophonic Greek chants, written in Ukrainian and Belarusian staff-notated manuscripts of the late 16th – 18th centuries, materializes this step with names and facts previously unknown to historians of Ukrainian, Belarusian and Byzantine music. The appearance of Ukrainian polyphonic music was a step towards the West, which testified to the mental openness of Ukrainians, since musical means (monophony or polyphony) for the most Orthodox residents of the Ukrainian and Belarusian lands of the Polish-Lithuanian Commonwealth, did not become a marker of confessional affiliation, although the idea of associating polyphony with Catholics circled in those days.
With the advent of polyphonic singing, the monophonic chant tradition has not disappeared. Often the Divine Liturgy itself was monophonic, and only the church concert was polyphonic. The Eastern tradition of church chant met with the Western one, they started coexisting, and this was the unique feature of the Ukrainian-Belarusian church music of the 17th century.

Rukopisna ta knižkova spadŝina Ukraïni

The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Be... more The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Belarusian staff-notated manuscripts of the late 16 th-18 th centuries proved their Eastern origin and the fact of borrowing. the question arises where Ukrainian and Belarusian singers mastered Greek-Byzantine chant. It is logical to assume that the Greek repertoire appeared thanks to Ukrainian-moldavian contacts, since the moldavian chant tradition, which flourished in the 16 th century, is based on the Byzantine one. the works of Greek-Byzantine composers make up most of the repertoire of the 16 th century moldavian manuscripts. the goal of the research is to compare the Greek repertoire of moldavian and Ukrainian-Belarusian musical manuscripts and to define the peculiarities of its fixation in middle Byzantine and kyiv staff notations. Methodology. A comparative method of studying Greek-Byzantine, moldavian and Ukrainian-Belarusian musical Євгенія і гнатенко on the development and renewal of Ukrainian and Belarusian church chant in the late 16 th-17 th centuries.

Analele Putnei, 2021

The connection between the Moldavian and Ukrainian-Belarusian chant traditions of the 16 th-18 th... more The connection between the Moldavian and Ukrainian-Belarusian chant traditions of the 16 th-18 th centuries seems very logical, given the territorial proximity of the Moldavian and Ukrainian lands and their belonging to a common Christian cultural space. This assumption is supported by the political, economic and ecclesiastical contacts established between the neighboring peoples of the time. At the same time, it is not easy to prove this connection at the level of the chant repertoires. Firstly, the comparative analysis of chant repertoires is complicated by the use of different musical notations. The famous manuscripts of the Putna Musical School of the 16 th century are written in Middle Byzantine notation 1. Znamenna semeiography was used in the Ukrainian and Belarusian lands in the 16 th century. Few manuscripts of this notation type have survived, and today it is impossible to

Рукописна та книжкова спадщина України, 2023

The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Be... more The goal of the research. Our recent attribution of kalophonic Greek chants from Ukrainian and Belarusian staff-notated manuscripts of the late 16 th-18 th centuries proved their Eastern origin and the fact of borrowing. the question arises where Ukrainian and Belarusian singers mastered Greek-Byzantine chant. It is logical to assume that the Greek repertoire appeared thanks to Ukrainian-moldavian contacts, since the moldavian chant tradition, which flourished in the 16 th century, is based on the Byzantine one. the works of Greek-Byzantine composers make up most of the repertoire of the 16 th century moldavian manuscripts. the goal of the research is to compare the Greek repertoire of moldavian and Ukrainian-Belarusian musical manuscripts and to define the peculiarities of its fixation in middle Byzantine and kyiv staff notations. Methodology. A comparative method of studying Greek-Byzantine, moldavian and Ukrainian-Belarusian musical Євгенія і гнатенко on the development and renewal of Ukrainian and Belarusian church chant in the late 16 th-17 th centuries.

WSPÓŁPRACA ANDRZEJA SZWALBEGO Z UKRAIŃSKIMI MUZYKAMI W LATACH 1960–1970, 2018

O człowieku, który wyprzedzał akademickie teorie. Zamiast Wstępu. Część I Małgorzata Lisecka Muzy... more O człowieku, który wyprzedzał akademickie teorie. Zamiast Wstępu. Część I Małgorzata Lisecka Muzyka dawna-stan badań. Wybrane zagadnienia Elżbieta Szczurko Artystyczne idee Andrzeja Szwalbego w oczach toruńskiej krytyki muzycznej z lat 60. XX wieku Elżbieta Szczurko Pierwsze edycje festiwalu "Musica Antiqua Europae Orientalis" (1966-1978) na łamach toruńskiej prasy Aleksandra Kłaput-Wiśniewska Muzyka dawna w koncepcji Andrzeja Szwalbego-jedna idea, mnogość pomysłów Aleksandra Kłaput-Wiśniewska Lubostrońska Pracownia Wieku Oświecenia Urszula Bartkiewicz Muzyczne przesłanie Andrzeja Szwalbego-refleksje klawesynistki Tomasz Rzepa Kongresy i festiwale MAEO na radiowej antenie Michał Zieliński Collegium Vocale-kontynuator renesansowego nurtu repertuarowego Capelli Bydgostiensis Pro Musica Antiqua Stefan Pastuszewski Andrzej Szwalbe a samorząd lokalny Stefan Pastuszewski Andrzej Szwalbe w pamięci i świadomości bydgoszczan Andrzej Szwalbe w bydgoskiej przestrzeni publicznej-Fot. Anna Kopeć Bogna Derkowska-Kostkowska Polichromia z wątkiem kapeli w Pieraniu, czy jedyna w województwie kujawsko-pomorskim? Agnieszka Wysocka Pałac w Nawrze-niespełniona wizja o ośrodku kultury Włodzimierz Jastrzębski Wkład Andrzeja Szwalbe w rozwój nauki w Bydgoszczy Igor Savchuk Korespondencja Andrzeja Szwalbego z Onysją Szrejer-Tkaczenko w aspekcie polsko-ukraińskich związków kulturalnych w latach 1960-1970 Yevgeniya Ignatenko Współpraca Andrzeja Szwalbego z ukraińskimi muzykami w latach 1960-1970 Petr Šefl Moje setkání s Andrzejem Szwalbe Część II Edmund Heza Andrzej Szwalbe. W drodze do utworzenia w Bydgoszczy uczelni muzycznej 1946-1974

Наукові збірки Львівської національної музичної академії імені М. В. Лисенка, Вип. 47. Видавничий дім «Гельветика», 2021, с. 17–31., 2021

Досліджується грецький репертуар українських і білоруських Ірмолоїв кінця XVI-XVIIІ століть, який... more Досліджується грецький репертуар українських і білоруських Ірмолоїв кінця XVI-XVIIІ століть, який матеріалізує безпосередній зв'язок східнослов'янської та греко-візантійської традицій співу в окреслений період часу. Атрибуція значної кількості грецьких співів знаменує новий етап наукового осмислення грецького репертуару українських і білоруських Ірмолоїв кінця XVI-XVIIІ століть. Авторизація співів із ремаркою «грецкое» розв'язує чимало загадок, зокрема й основну щодо їх походження, проте водночас продукує нові. Мета роботи-систематизувати та представити нові напрями дослідження грецького репертуару, зокрема: зв'язок калофонічного стилю співу та ісихазму в українському контексті; особливості звуковисотної організації запозичених грецьких співів; питання музичної екзегези та розшифрування середньовізантійської нотації київською; спільний грецький репертуар молдавських та україно-білоруських рукописів тощо. Ці напрями дослідження вимагають подальшого розроблення в українському музикознавстві. Використовується порівняльний метод дослідження греко-візантійських, молдавських та україно-білоруських рукописів. Ключові слова: українські та білоруські Ірмолої, грецький репертуар, калофонічний спів, візантійська нотація, київська нотація, екзегеза.

Scientific collections of the Lviv National Music Academy named after M.V. Lysenko

Scientific herald of Tchaikovsky National Music Academy of Ukraine

Relevance and current status of research. The Kyiv collection of partes music, which is kept in t... more Relevance and current status of research. The Kyiv collection of partes music, which is kept in the Institute of Manuscript of V. Ι. Vernadsky National Library of Ukraine, is the largest in Ukraine. It includes about 700 choral works, and only a few dozen of them have been decoded, edited and published. In 2020, within the Musica sacra Ukraina project the author of this article decoded and prepared for performance three new partes concerts from the Kyiv collection. These are twelve-part anonymous concerts of the 1730 s – 40 s “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people”. The purpose of the study is to describe the Kyiv partes collection and the current status of its research; to outline the main steps of working with partes manuscripts: deciphering, score compiling and editing; to present deciphered concerts in the context of current research problems of European baroque music, such as the aesthetics of oddity, as well as musical symbolism and r...

Науковий вісник НМАУ ім. П. І. Чайковського. Київ, 2022, вип. 134, с. 51–68., 2022

Relevance and current status of research. The Kyiv collection of partes music, which is kept in t... more Relevance and current status of research. The Kyiv collection of partes music, which is kept in the Institute of Manuscript of V. Ι. Vernadsky National Library of Ukraine, is the largest in Ukraine. It includes about 700 choral works, and only a few dozen of them have been decoded, edited and published. In 2020, within the Musica sacra Ukraina project the author of this article decoded and prepared for performance three new partes concerts from the Kyiv collection. These are twelve-part anonymous concerts of the 1730 s – 40 s “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people”.
The purpose of the study is to describe the Kyiv partes collection and the current status of its research; to outline the main steps of working with partes manuscripts: deciphering, score compiling and editing; to present deciphered concerts in the context of current research problems of European baroque music, such as the aesthetics of oddity, as well as musical symbolism and rhetoric, which allow us to reveal the inextricable connection between the verbal and musical text of the works. Methodological framework. The work is based on proven methodologies of decoding and scientific editing of handwritten musical text, and methods of musical theoretical analysis are also used.
Results and scientific novelty of the work. Three anonymous twelve-part partes concerts of the 1730 s –1740 s from the Kyiv collection “The troubles of my heart”, “O sing unto the Lord a new song” and “Come, o people” were deciphered, edited and analyzed. A comprehensive approach to studying Ukrainian baroque music is presented. It involves deciphering, editing (preparation for performance) and musicological interpretation of the work. The proposed musicological analysis, which is based on modern approaches to the analysis of baroque music, updates the European context of the Ukrainian baroque heritage.
Keywords: Kyiv Partes collection, Ukrainian Partes concert, symbolism and rhetoric in baroque music, Musica sacra Ukraina project, Partes works’ decoding and editing.

Relevance of the study. The revival of early music has become one of the leading cultural trends ... more Relevance of the study. The revival of early music has become one of the leading cultural trends of the 20th century. The musicians from the Soviet Union, including Ukraine have joined to this music branch after the Second World War. One of the artistic events that brought them together was the International Early Music Festival and Congress of the Central and Eastern Europe “Musica Antiqua Europae Orientalis” (MAEO), which had been taking place every three years since 1966 in the Polish city Bydgoszcz.The main objective of our study is to collect and analyze the materials of the Soviet press devoted to the forum in Bydgoszcz. There are the articles written by Yu. Keldysh, E. Alekseeva, N. Gerasymova-Persydska in the musical journals “Soviet music”, “Musical life”, “Music”. The discussion on the topics proposed by the forum participants has been continued.The methods of analysis and synthesis are applied.Results and their significance. The Polish International Early Music Festival a...

Relevance of study. Attribution of the Greek chants from Ukrainian and Belarusian Heirmologia of ... more Relevance of study. Attribution of the Greek chants from Ukrainian and Belarusian Heirmologia of the late 16th–18th centuries marks a new stage of scientific understanding of the Greek repertoire in the Ukrainian-Belarusian church chant tradition. The effectiveness of the comparative study of Ukrainian-Belarusian and Greek-Byzantine musical manuscripts has provided knowledge of peculiarities of the Byzantine notation in historical development and traditional methods of its study. Thus, the methodological task of the researcher of the Greek chants recorded in the Ukrainian and Belarusian manuscripts is to comprehend and analyze the material based on the approaches and concepts developed in the authentic tradition and Byzantine musicology.The objectives of the article are 1) to characterize the main research methodologies of the Byzantine notation, developed in the twentieth century; 2) to present the Greek chants from the staffnotated Ukrainian and Belarusian Heirmologia of the late ...

Kallistrat’s Greek Oktoechos of 1769: New Research Results, 2022

Historical information. Monastic fraternity of Saint Paisius in Dragomirna. Chants with Greek tex... more Historical information. Monastic fraternity of Saint Paisius in Dragomirna. Chants with Greek text. Attribution of Cherubic songs and Communion verses from Kallistrat’s Oktoechos and establishing matches with Anthologies Sinai 1477 and St. Petersburg 238.

Часопис Національної музичної академії України ім.П.І.Чайковського, 2019

Ігнатенко Євгенія Василівна-кандидат мистецтвознавства, доцент кафедри теорії музики Національної... more Ігнатенко Євгенія Василівна-кандидат мистецтвознавства, доцент кафедри теорії музики Національної музичної академії України імені П. І. Чайковського.

Ukrainian musicology, 2018

Scientific herald of Tchaikovsky National Music Academy of Ukraine