Ethnomusicology as the Ukrainian-Polish invention and common proceedings in study on ethnic musical cultures

Размещено на http://www.allbest.ru/

Ethnomusicology as the Ukrainian-Polish invention and common proceedings in study on ethnic musical cultures

Piotr Dahlig professor, University of Warsaw, Institute of Musicology, Warsaw (Poland)

Даліг Пйотр професор, Варшавський університет, Інститут музикознавства, м. Варшава (Польща)

Abstract

The article discusses Ukrainian-Polish relationships in the realm of that traditional music culture which is deeply rooted both in natural and intangible values. It argues that the term and activities of ethnomusicology, formulated first in Ukraine (1928) then in Poland (1934), served as a means to gain or stabilize independence in ways of thinking and understanding their own cultures. There are presented common, parallel, similar initiatives and achievements in Poland and Ukraine pertaining to ethnic music cultures, their study and documentation since the beginning of 20th century. The text demonstrates a leading role of Ukrainian ethnomusicology in Europe on the assumption that traditional (folk, ethnic) music in the original, authentic performances helps better to understand past and present of culture of neighbouring countries than only spectacular folkloric arrangements for stage performances.

Keywords: ethnomusicology, authentic performances, Ukrainian- Polish relationships. ethnomusicology authentic performance ukrainian polish

Даліг Пйотр

Етномузикологія як українсько-польський винахід і спільне вивчення етнічних музичних культур

Анотація. У статті йдеться про українсько-польські взаємини в царині тієї традиційної музичної культури, яка глибоко вкорінена як у матеріальних, так і в нематеріальних цінностях. У дослідженні стверджується, що термін і напрями діяльності етномузикології, сформульовані спочатку в Україні (1928), потім у Польщі (1934), слугували засобом здобуття або стабілізації незалежності в способах мислення та розуміння власних культур. Представлено спільні, паралельні, схожі ініціативи та досягнення в Польщі та Україні щодо етнічних музичних культур, їхнього вивчення та документування з початку ХХ ст. Текст демонструє провідну роль української етномузикології в Європі на припущенні, що традиційна (народна, етнічна) музика в оригінальному, автентичному виконанні допомагає краще зрозуміти минуле й сьогодення культури сусідніх країн, ніж лише видовищні фольклорні обробки сценічних вистав.

Ключові слова: етномузикологія, автентичне виконання, українсько-польські взаємини.

The ethnomusicology, an investigation of possibly universal rules within ethnic/folk and local musics transmitted mainly orally, has double roots. The first, I would call the enlightened colonialism; it accepts the dissimilarity between a cultural competence of the outsider and the appreciated indigenous heritage; hence the first term for ethnomusicology -- a comparative musicology. It is in the 20th century already that an alternative musicality, not only the European one, has begun to be promoted. We should always remember key personalities of ethnomusicology: Jaap Kunst (1891-1960), Mantle Hood (1918-2005), Alan Merriam (19231980), John Blacking (1928-1990). The second origin/source of ethnomusicology is rooted, in my opinion, in the ethnocentrism. The ethnocentrism or nationalism is determined sometimes biologically as a striving for survival of relatively small ethnic/national groups. The ethnocentrism or nationalism within the greater groups usually tend to create or revive collective consciousness and cultural identity in the face of political hegemony of a stronger demographically state entity with its usual pressure to eliminate local cultural immune systems. The multinational Austrian-Hungarian empire, thanks to the Catholic emperor, Franz Josef I, had tolerated ethnic diversity and appreciated, to a certain degree, its ornamental value for the Habsburg monarchy (e.g. in 1869, the post card, the first medium for the mass individual communication, invented in Austria, had inscriptions in German, Hungarian, Ukrainian and Polish languages). The pro-European spirit of the today's Ukraine is thus rooted in Galicia. Unfortunately, in 2022 and 2023, the Austrian and Hungarian pillars of the then monarchy do not behave properly towards Ukraine which now defends its own independence and the European safety.

In the 21st century, it should be always stressed that there exists a much more earlier definition of the ethnomusicology than that formulated by Jaap Kunst (Kunst, 1950). Namely, in 1928, Klyment Kvytka has defined the ethnomusicology as the systematic analysis of folk songs transmitted orally; this definition was made in the non-colonial and centripetal perspective (Kvytka, 1928, Stqszewski, 1992, Lukaniuk, 2006, Dahlig, 2009). It is worth mentioning that both Kvytka and Kunst were educated lawyers, particularly apt to build intellectual patterns and arguments. Eucjan Kamienski, a professor of musicology in Poland (Poznan) between 1922-1939 could be presented as the third important personality among the early promotors of ethnomusicology in Europe (Kamienski, 1936).

Coming back to Kvytka, the Ukrainian concept of ethnomusicology elevates the order and text-melodic equilibrium within the song itself. The musical Logos would be thus in the centre. The Western concept is built rather on cultural-musical relationships, and the today's tendency is to incorporate ethnomusicology into culture studies at universities. In Ukraine and partly in Poland and Austria, the research on traditional/ folk music is localized both at universities and music academies on the assumption that musical tradition should be not only documented or analyzed but also cultivated and performed.

Before defining the discipline, the empirical, field work had to be done with the help of the Edison phonograph since the end of the 19th century. In this domain, the Ukrainians belonged also to the leaders in Europe; they used the phonograph in a systematic way and their cultural and musical competences, I mean the names of Rozdolskij (Dovhalyuk, 1997), Kolessa were superb. As Iryna Dovhalyuk (Dovhalyuk, 2016) has shown in her monography, there were recorded on wax cylinders usually more complicated melodies, because the musical human ear and memory were usually enough for doing transcription of simpler melodies into notes at once.

In 1909, at the III Congress of musicologists in Vienna, Bela Bartok and Filaret Kolessa became friends and had a common language (Chybinski, 1910). After reflecting on this early creative ethnomusicological duet, Adolf Chybinski, a father of Polish musicology, began to encourage Juliusz Zborowski, director of the Tatra Museum in Zakopane, to use the then modern technology. The first attempt to record Polish dialects in 1904 was only episodical (Dahlig, 1997; Jackowski, 2014, p. 49-53). The Cracow Academy of Sciences did not support the phonographic method, because this institution maintained that all knowledge would proceed only with printed works, whereas for the Ukrainians, the phonographic documentation was delivering most powerful sources for study regional/ national culture and, besides, demonstrated a high musicality of the peasant inhabitants in Galicia. Simultaneously, the Dumy recorded and studied by Kolessa helped to synthesize the historical consciousness and conscientiousness of Ukrainians (Kolessa, 1969).

In the beginning of 20th century, the ethnomusicology had aspired to be like a natural science, because it assumed that the acoustical world should be measured and typologized so as to clarify the „psychology of nations”. The Ukrainian collections of songs recorded, transcribed and published before the WWI, e.g. by Stanislaw Ljudkewycz (1906, 1907) demonstrate achievements which are comparable only with intercontinental or international programmes of Phonogramarchives in Berlin founded in 1900 and Vienna in 1899, but -- contrary to the German speaking states -- the Ukrainian anthologies served national goals what was quite understandable in those times. Particularly, they proved a status of Ukrainian settlement in borderlands. The studies on early sound documentation on wax cylinders by I. Dovhalyuk (Dovhalyuk, 2016) and general discography by Iryna Klymenko (Klymenko, 2010) testify to a constantly up to date significance of the „sound mirror” made in 20th century. The history of phonographing of musical folklore has found its zealous representatives also in Poland (Jackowski, 2014). The collections of folk songs on wax cylinders and shellac discs were described in Polish journalism of the 1930s as a „heart”, „mother”, „treasure” of culture (Dahlig, 2002). The phonographic heritage of several generations is a sign of continuity and international character of ethnomusicology and deserves careful protection. The phonographic achievements are, according to both Ukrainian and Anglo-Saxon ethnomusicologists, the proper beginnings of the ethnomusicology with its own source database.

In the first decade of the 20th century, the Polish milieu in Lviv and Galicia had deliberated on the idea of the theater for peasants. The pattern of stage production for country people in „Betlejem Polskie” by Lucjan Rydel in 1904 has a similar construction with a performance of the Ukrainian hurdy-gurdy player and singer. Namely, the sacral elements were presented at first, then historical ballads or fragments of the epos were performed; at last either group of actors/singers or lyrniks sang short songs (krakowiak, kolomyjka) to introduce a lighter mood. In the Ukrainian tradition the perfomance was still closed with a prayer for dead parents of the listeners, and so the Ukrainian case is rooted deeper in the intergenerational heritage and thus possibly also in the territorial identity and attachement. While the Polish intellectuals and artists advised on the most convenient stage performance for peasants, Filaret Kolessa was working on the Ukrainian Dumy. Their publication in 1910 coincided with the 100th anniversary of Chopin's birth which was solemnly celebrated in Galicia, particularly in Lviv.

Coming back to ethnomusicology, we do not know whether this term was instilled in Poland of the 1930s from Kvytka whose works could read Chybinski through the mediation of Kolessa (both Chybinski and Kolessa lived in one city, Lviv). It is also possible that Lucjan Kamienski, mentioned earlier, has invented „ethnomusicology” some years later. He was enthusiastic about the „building knowledge of folks songs”, and promoted a concept of song biology as a logo-melodic whole (Kamienski, & Muszkalska, 2011). In 1934, „ethnomusicology” was in the oral circuit at the University in Poznan (oral information from Jadwiga Sobieska in 1990s). In 1937, Walerian Batko, a listener to Kamienski's lectures, reviewing publications of Filaret Kolessa, honoured him as a famous ethno-musicologist (Batko, 1937; Dahlig, 2000, p.156). Ethnomusicology as a new branch of humanities could be promoted by Contests in Collecting Folk Songs announced by the Polish Broadcasting and school superintendents' offices in the middle of the 1930s, some results of them have been published now in Ukraine (Lukaniuk, & Rybak, 2015; Jarmola, & Rybak, 2021). The definition of ethnomusicology, a „young discipline” was for the first time printed in Polish in Februrary 1939 and was similar to that of Kvytka -- the ethnomusicology would be a study and typology of folk songs collected with scientific methods (Dahlig, 1998, p. 517-520). The concept of a song as a logo-melic-rhythm whole is continually studied and developed in today's Ukraine, a country of a high level of vocal culture.

The modern topic in today's musicology -- music and the powers -- can suggest a Ukrainian-Polish restrospective comparison. Symon Petlura, an ally of Jozef Pilsudski has sent to the world in 1919 the Ukrainian Republican Choir led by Oleksander Koszyc (1875-1944) to promote Ukraine in Europe and in America. The Choir consisted of 70 singers and the first public performance was in Prague on 11th of April 1919, and continued to present successfully Ukrainian vocal repertoire in the West in 1920s and 1930s.

Poland popularised its heritage in another but also musical way, namely by means of staged performances of Highlanders from Podhale region, for the first time at the Exhibition of Decorative Arts in Paris in 1925. The international Folklore Festivals in Europe since 1935 in London, Hamburg, Paris, at which Polish groups were present, occurred over the years of the worst Soviet persecutions and genocide in the Ukraine. Only the Hutsuls' dance, arkan, performed by Polish students of the Institute of Physical Education in Warsaw reminded of this unhappy country. It is interesting that just Hutsuls at Mountain Festivals between 1935-1938 in southern Poland were the most attractive Highlanders' group (Dahlig, 1998, p. 480-485).

Let's try to sum up the interwar period from the political-cultural perspective. With all problems of Polish-Ukrainian relations and mutual harms, we should state that if the Curzon's borderline functioned already in the 1920s and 1930s, many representatives of the Ukrainian elite would share the fate of Mykola Leontowycz, outstanding composer treacherously murdered by a chekist. The fact that the western Ukraine, eastern Galicia was within the political boundaries of Poland safeguarded peasant population from the collectivisation of agriculture with its genocide consequences. Prosvita could function in the Second RP, but it seems that usually only school choirs created a quite friendly common space for both nations. The songbooks were bilingual and public staged performances contained intentionally folk songs as well as in Polish as in Ukrainian language.

Let's come back to the field of ethnomusicology. As a good example of Polish-Ukrainian cooperation could serve a common research expedition of Filaret Kolessa and ethnographer Kazimierz Moszynski in Polissje in 1932 (Moszynski, 1932). The results were edited by Zofia Hrytsa in 1995 and reviewed in Poland by Czekanowska (Czekanowska, 1997). Anna Czekanowska told me that Kolessa brought knowledge of musical Proto-Slavic heritage to Moszynski, whereas the author of the Kultura ludowa Stowian (Moszynski, 1929, 1939) stressed the individualities of singers in Polissje. Less known is the cooperation of Julian Pulikowski, who appealed in many periodicals in 1937 to study and record all national minorities in Poland, with the help of Jurij Cechmistruk and Jan Gipski, the Pulikowski's collaborateurs from Wolyn (Dahlig, 1998, p.602-607). The written collection of J. Cechmistruk was published in Ukraine by B. Stoljarczuk and B. Lukaniuk (Cechmistruk, 2006). The wax cylinders recorded by Cechmistruk in 1936-1937 were destroyed in autumn of 1944 after Warsaw Uprising, when German burned out of revenge libraries and sound archives. Fortunately, the written transcriptions by Cechmistruk survived the war. The last sign of Ukrainian-Polish coexistence in the interwar period was a study on Hutsul dances (Harasymczuk, 1939).

After the WWII, only in 1960 the censorship in Poland allowed to publish places of birth in today's Ukraine of Polish folk singers who were resettled to new western Polish territories in 1945-1947. Later, in 1965 there was published Muzyka Huculszczyzny by Stanislaw Mierczynski who did field research in Hutsuls region in 1938 (Mierczynski, & Stqszewski, 1965). The volume was prepared on the base of Mierczynski's manuscripts by Jan Stqszewski. Jakub Borysiak, now editor in Polish Radio, walked the path of Stanislaw Mierczynski near Kosovo in the Hutsul region and has prepared a comparative study (Borysiak, 2005). Justyna Czqstka-Klapyta joined lately the group of distinguished researchers of the Carpathian traditions with her great monography on carolling in Hutsul region (Czqstka-Klapyta, 2014).

Political upheavals in Poland (1956, 1968, 1970, 1980) contributed to the step by step relaxations of censorship, e.g. in 1980 there was presented in Wroclaw a staged version of the traditional wedding „Wesele tarnopolskie” prepared by resettlers born in today's Ukraine and living in Low Silesia.

William Noll, an American ethnomusicologist, played important roles both in Poland and Ukraine in the late decades of 20th century. Between 1980 and 1983 he made intensive fieldwork among Polish instrumentalists and folk bands. We travelled together even in time of the martial law in 1982. He payed special attention to socio-economic contexts of musicians' activities both in Poland and Ukraine. In Ukraine he was a promotor of studies on oral history of Ukrainian peasants in 1920s and 1930s, the great book was first published in Ukrainian (Noll, 1999), then in English (Noll, 2023). He has also contributed to a renewal of studies on Ukrainian lyrniks in „Rodovid” (Noll, 1993). The hurdy-gurdy, an instrumental „pearl” in Galicia drew attention already of Oskar Kolberg in Pokutsje (Kolberg, 1889; 1962, p. 9). Since 1970 the instrument has been investigated in Poland by Anna Kopec (Kopec, 1975), Ulrich Wagner from Mannheim (photo documentation of 34 instruments in Polish museums), Remigiusz Mazur-Hanaj (Mazur-Hanaj, 2009), Piotr Dahlig (Dahlig, 2009) and particularly by Zbigniew Przerembski who has recently published a synthetic monography (Przerembski, 2022). The works of the mentioned authors are parallel to those of Ukrainian researchers, e.g., Jurij Rybak in Rivne (Oshurkewycz, & Rybak, 2002). My work about the dulcimer players in Polish culture has also relevance to the history of this instrument in Ukraine, remembering that the dulcimer till the turn of 18/19th century was in hands of professional Jewish musicians (klezmers) then in the course of 19th century this chordophone was adapted by representatives of different nationalities in the central-eastern Europe (Dahlig, 2013). In general, musical instruments and ensembles are a matter which is above political frontiers. International significance have e.g. monographies of Michajlo Chaj, died recently (Chaj, 2011). The researches on Carpathian traditions are conducted as well as in Ukraine as in Poland (Czqstka-Klapyta, 2008; Kopoczek, 1996). The knowledge of musical instrumentarium of Hutsuls and their repertoire has been crowned by the monography by Ihor Macijevskij (Macijevskij, 2012).

The next step in reducing Soviet totalitarian mentality became proceedings in research on national/ ethnic/religious minorities. Thus music repertoire of Polish minority in Ukraine was studied by Larissa Vachnina (Vachnina, 2002) and since the middle of 1980 -- Ukrainian minority in Poland by Anna Czekanowska, Slawomira Zeranska-Kominek, Malgorzta Jqdruch including studies on compulsive resettlers of the action „Wisla” (Czekanowska, 1990; Zeranska, 1990). Unlocking historical reflection enabled a new reading of musical tradition of Podlasje region from the Ukrainian perspective in the anthology and analysis of Larissa Lukaszenko (Lukaszenko & Pohylievytsch, 2006).

In the last decade of the 20th century the significance of phonographic editions has increased both in Ukraine and Poland. The CDs began to popularise music heritage also on borderlands, songs of national minorities and diasporas (Baliszewska, Borucka-Szotkowska & Szewczuk-Czech, 1999). The CDs prepared by Remigiusz Mazur-Hanaj demonstrate songs in Ukrainian and Polish languages performed side by side at one territory, e.g. in the region of Roztocze in south eastern Poland (Mazur-Hanaj, 2016).

The morphological analysis and typology remain always crucial for the Ukrainian ethnomusicology. The traditional ethnic rhythms read in a modern way and possibly rooted in ancient systems, a discovering of melodic deep patterns are in the center of Bohdan Lukaniuk's considerations which were published in bilingual volume edited by Zbigniew Przerembski (Lukaniuk, 2015, p. 13-30).

A musical cartography or melo-geography, cultivated also in Belorussia, remains a synthetic and spectacular result of the ethnomusicological analysis and seems to be the most advanced and unique achievement of Ukrainian ethnomusicology, e.g. in the work led by Iryna Klymenko (Klymenko, & Murzina, 2008; Klymenko, 2012; 2013). In Poland the mapping of melodic types, inspired by the idea of ethnographic and dialectological atlas has been adapted only sporadically. Jan Stqszewski has introduced this procedure in the end of 1960s and illustrated distribution of rhythmic formula of Mazurka and old-Polish wedding song Chmiel (Stqszewski, 1959; 1960; 1965). The method of melogeography could not be specialized in Poland because of the mixed state of music traditions coming from different centuries and epochs. The digitalization of Kolbergs volumes (nearly 80 of them) will give new possibilites in spacial projections of regional repertoires. The unique achievement in Poland in the realm of mapping musical properties remains the work of Anna Czekanowska about narrow range melodic in Slavic countries (Czekanowska, 1972). This study adapts taxonomic analysis elaborated by Hugo Steinhaus and Jan Czekanowski, once professors of the University in Lviv. The monography by Czekanowska about songs in Bilgoraj region (Czekanowska, 1968), where old Slavic strata remain perceptible, is clearly inspired by analyses of Kolessa. The narrow range melodies, ladkanki, attracted attention of many ethnomusicologists both Ukrainian and Polish, including me. Still in the end of 20th century I heard an opinion in Bilgoraj region that younger women sing ladkanki and old women „ladkajq”.

In general, it prevails in Poland a concept of regional monography internally classified by content and functions. Such model of interpretation and typology is used and developed in the works of Barbara Krzyzaniak, Antoni i Danuta Pawlak, Jaroslaw Lisakowski and Ludwik Bielawski in monographs dedicated to regions of Kujawy, Warmia and Mazury, Kaszuby. This pattern is rooted, however, in regional monographies by Oskar Kolberg who did not dispose the Edison phonograph (Kolberg died in 1890), but he was a witness of a much more vivid musical folk practice than in 20th century.

The common Polish-Ukrainian results of musicological research have been contained in nearly twenty volumes of „Musica Galiciana”, since 1997; these conferences are organised by Lysenko Music Academy in Lviv and University in Rzeszow. The studies are particularly fruitful under the Latin aegis and refer mainly to the music history and musical life in 19th century. But ethnomusicology was the first -- Conferentia Investigatorum Musicae Popularis Russiae Rubrae Regionumque Finitimarum invented by Bohdan Lukaniuk started already in 1990 and was carefully documented in print in next years (Dovha- lyuk, & Dobrjans'ka, 2019, p. 15). From the Polish side the key concept refers to central-eastern Europe, the idea elaborated particularly in Lublin and based on Res Publica of the past centuries. Another initiative came from Andrzej Nikodemowicz (1925-2017), a composer born, educated and living in Lviv till 1980. Since the 1980s in Lublin he has put forward an idea of a common music, and spiritual, mental heritage, including denominations, of the borderland (Fundacja „Muzyka Kresow”, today with another name: Center of Crossroads). Since 1991, this idea has been taken up by Monika Maminska and Jan Bernad who have organised many meetings and conferences inviting ethnomusicologists from Baltic and Slavic countries and gathering them in such places (villages) in Poland where people of different denominations lived together. These yearly conferences, unfortunately unsifficiently represented in literature, were a breath of freedom and enabled a spontaneous exchange of knowledge, experiences and musical practice of ethnomusicologists of several countries from our part of Europe. Since the 1990s, these conferences and workshops visited frequently Evgenij Jefremov who together with his ensemble „Drevo” made a major contribution to a revival of older singing styles in Poland. In 2014, in the beginning of the first war in Europe after WWII, on the occasion of 35th anniversary of „the Drevo” in Lublin, five Polish singing groups performed whose practice was inspired by Jefremov's mission. From the past conferences „Muzyka Kresow” an International Summer School of Traditional Singing (the 24th edition in 2023, now in Posejnele near Sejny) visited by hundreds of young people has emerged.

Summing up, we can say that Ukraine invented the term „ethnomusicology” to contribute to its own independence. In the realm of musical transcriptions of traditional repertoire and system of analysis, typology, mapping, the Ukrainian ethnomusicology has a leading role in Europe. Each country can safely go the ethnomusicological path elaborated by Ukrainians who did it amid very difficult circumstances. It is our Ukrainian-Polish privilege that there is no distinct melodic borderlines between both nations. The common Polish-Ukrainian heritage is built on wishing carols (kolqdy zyczqce, szczodraki) which were eagerly studied, by Jerzy Bartminski (Bartminski, 1981; 2003), died recently, who had been brought up in Przemysl. All that is sung and wished in szczedrywki, zekanki should be wished to the today's Ukrainians who must struggle with the ghost of the past and shed blood for the whole humanity.

Bibliography:

1. Baliszewska, M., Borucka-Szotkowska, A., & Szewczuk-Czech A. (1999). Seria CD „Muzyka Zrodel” Polskiego Radia [Source Music of Polish Radio], Mniejszosci narodowe i etniczne [Ethnic and National Minorities], No. 13, PRCD 162; Polacy w Ukrainie, w Rumunii i Kazachstanie [Polish Diaspora in Ukraine, Kazakhstan, Romania], No. 16, PRCD 165.

2. Batko, W. (1937). Poklosie wydawnicze [Publishing aftermath]. TeatrLudowy, No. 10, 187-188.

3. Bartminski, J. (1981). Kol^dowanie na Lubelszczyznie [Carolling in the Region of Lubelskie, edited by J. Bartmihski]. Wroclaw: Polskie Towarzystwo Ludoznawcze.

4. Bartminski, J. (2003). Polskie kolqdy ludowe [Polish Folk Carols]. Krakow: Universitas.

5. Borysiak, J. (2005). Z badah nad tradycjq muzycznq Huculszczyzny. Wspolczesna dokumentacja i wybrane sylwetki wykonawcow a przekaz historyczny [From Research of Musical Tradition of Hutsuls. Contemporary Documentation, Chosen Perfomers and Historical Sources]. University of Warsaw, MA thesis.

6. Cechmistruk, J. (2006). Hapodni nicm Bonuni. 0oHoepa<fi4Hi 3anucu 1936-1937poKie [FolkSongs of Wolyn, phonographi- cally registered in 1936-1937]. Lviv, Rivne.

7. Chaj, M. (2011). My3U4Ho-iHcmpyMenmanbHa Kymrnypa YKpainqie (tfonKnbopna mpaduqin) [Music Instrumental Culture of Ukrainians (Folklore Tradition)]. Kijiv-Drohobycz: Kolo.

8. Chaj, M. (2011). YKpaiHCbKa incmpyMenmanbia MyzuKa ycnoi mpaduqii [Ukrainian Instrumental Music of Oral Tradition], Kijiv-Drohobycz: Kolo.

9. Chybinski, A. (1910). Etnografia muzyczna na III Mi^dzynarodowym Kongresie Muzycznym we Wiedniu (25-29 maja 1909). Lud, (16), 160-178.

10. Czqstka-Klapyta, J. (2008). fyqynu, 6ouku, neMKu. Tpaduqin i cyuacnicmb. BouKiecbKi My3u4Hi mpaduqii i їхнє eidpod- жєіііія. y yKpaincKou emHoMy3uKonoei'i. [Hutsuls, Bojki, Lemki. Tradition and Present Time. Revival of Musical Tradition of Bojkiv]. Justyna Czqstka-Klapyta (Ed.). Cracow: Wierchy.

11. Cz^stka-Klapyta, J. (2014). Kolqdowanie na Huculszczyznie [Carolling in Hutsuls'Land], Krakow: Oficyna Wydawnicza «Wierchy».

12. Czekanowska, A. (1968). Piesni bilgorajskie. Przyczynek do interpretacji polskiego pogranicza poludniowo-wschodniego [Songs of BilgorajRegion. Contribution to the Interpretation of Polish South-Eastern Border Territory]. Wroclaw: Polskie Towarzystwo Ludoznawcze.

13. Czekanowska, A. (1972). Ludowe melodie wqskiego zakresu w krajach slowianskich. Przeglqd dokumentacji zrodlowych, proba klasyfikacji metodq taksonomii wroclawskiej [Narrow-Range Folk Melodies in Slavic Countries: Survey of Source Documentation and Classification Applying the Wroclaw Method of Taxonomy]. Krakow: Polskie Wydawnic- two Muzyczne.

14. Czekanowska, A. (1990). Z badan nad kulturq muzycznq Ukraincow w Polsce [From Resarch on Musical Culture of Ukrainians in Poland]: In: Kultura muzyczna mniejszosci narodowych w Polsce. Litwini, Bialorusini, Ukraincy [Musical Culture of National Minorities in Poland. Lithuanians, Belorussians, Ukraininans]. Slawomira Zeranska- Kominek (Ed.). Warszawa: Uniwersytet Warszawski, 143-155.

15. Czekanowska, A. (1997). Muzycznyj Folklor z Polessja. Ze zbiorow Filareta Kolessy i Kazimierza Moszynskiego. Zofia Hryca (Ed.). Kijiw. Muzyka, XLII/2, 104-107.

16. Dahlig, P. (1997). Pierwszy zapis fonograficzny folklorupolskiego (1904). [The First Music Recording of the Polish Folklore (1904)]. Muzyka, 2 (165), 57-70.

17. Dahlig, P. (1998). Tradycje muzyczne a ich przemiany Migdzy kulturq ludowq, popularnq i elitarnq Polski mi^dzywojennej [Musical Traditions and their Transformation. Between Folk, Popular and Elitist Culture of Interwar Poland]. Warszawa: Wydawnictwo Instytutu Sztuki PAN.

18. Dahlig, P. (2000). Wczesna etnomuzykologia polska w swietle korespondencji [Early Polish Ethnomusicology in the Light of Epistolography]. In: Muzykologia u progu trzeciego tysiqclecia. Teoria i praktyka. Warszawa: Akademia Muzyczna im. F. Chopina, Instytut Sztuki PAN, 155-174.

19. Dahlig, P. (2002). The Early Field Recordings in Poland (1904-1939) and Their Relations to the Phonogram Archives in Vienna and Berlin. In: Music Archiving in the World. Papers presented at the Conference on the Occasion of the 100th Anniversary of the Berlin Phonogramm-Archiv. Gabriele Berlin and Artur Simon (Eds). P 205-218.

20. Dahlig, P (2009). The use of the term ethnomusicology in Ukraine and Poland between 1928 and 1939. Muzyka, (5), 51-56.

21. Dahlig, P (2009). The lirnik as a mediatory figure between Earth and Heaven. In: Traditional musical cultures in Central-Eastern Europe. Ecclesiastical andfolk transmission. Warsaw: Warsaw Learned Society, University of Warsaw, 415-428.

22. Dahlig, P. (2013). Cymbalisci w kulturze polskiej [Dulcimer Players in Polish Culture]. Warszawa: Uniwersytet Warszawski.

23. Dovhalyuk, I. (2016). Фoнoгpaфyвaння народної музики в Україні. Історія, мemoдoлoгiя, meHdeHqii [Phonographing Folk Music in Ukraine. History, Methodology and Tendencies]. Lviv: Ivan Franko National University of Lviv.

24. Dovhalyuk, I. (1997). MysuHHo-emHorpafiiHHa дiяльнicmь Ocuna Poздoльcкoгo [Music-Ethnographic Works of Osip Rozdolskij], Київ: Pogoeig.

25. Dovhalyuk, I., & Dobrjans'ka, L. (2019). XbeicbKa emнoмyзuкoлoгiя eid d:wepen do cbocooeiinn [Lviv Ethnomusicology from Beginnings to the Present Time], In: 25-ліття Львівської Кафедри Музичної Фольклористики та Проблемної HayKOBO-дослідної Лабораторії Музичної Етнології: Кторія -- Персоналії-Доробок. Lviv: M. Lysenko National Music Academy.

26. Harasymczuk, R. (1939). Tance huculskie. Lwow: Towarzystwo Ludoznawcze.

27. Jackowski, J. (2014). Zachowac dawne nagrania. Zarys historii dokumentacji fonograficznej i filmowej polskich tradycji muzycznych i tanecznych (przelom XIX i XX w. -- do drugiej wojny swiatowej) [To Safeguard Old Recordings. The Outline of History of Sound and Film Documentation of Polish Music and Dance Traditions (Turn of 19/20th c. till the WWII]. Warszawa: Institute of Arts, Polish Academy of Sciences.

28. Jarmola, V, & Rybak, J. (2021). Вoлuнcbкi HapodHi nicHi з apxiey Fi:tapei)ia Кoлeccu [ Volynian Folk Songs from F Kolessa's Archives]. Lviv: Halycz-Press.

29. Kamienski, L. (1936). Piesni ludu pomorskiego [Songs of Pomerania's People], Torun: Instytut Baltycki.

30. Kamienski, L. (2011). O biologiipiesni [On biology of a song]. Bozena Muszkalska (Ed.). Poznan: Poznan Learned Society.

31. Klymenko, I. (2010). Дucкoгpaфiя yKpamcwo emHoMy-зики (aemeHmuuHe eukoHaHw) 1908-2010 [Discography of Ukrainian ethnomusic, authentic performances, 1908-2010]. Kijiw.

32. Klymenko, I. (2012, 2013). Слов'янська мелогеографія. Книга 3 [Melogeography of the Slavonics. Book 3]. Kijiw.

33. Kolberg, O. (1889, 1962). Dziela Wszystkie (Complete Edition of Works). Vol. 31, Pokucie, part. III. Wroclaw, Poznan, Warszawa, Krakow: Polskie Towarzystwo Ludoznawcze, Ludowa Spoldzielnia Wydawnicza, Polskie Wydawnictwo Muzyczne.

34. Kolessa, F. (1969). Melodii yкpaїнcьких нapoдних дум [Melodies of Ukrainian Dumy], S. Hrytsa (Ed.). KhIb: HayKoea flyMKa.

35. Kopec, A. (1979). Zur Geschichte derDrehleier in Polen. In: Studia instrumentorum musicae popularis VI. Erich Stockmann (Ed.). Stockholm, 142-145.

36. Kopoczek, A. (1996). Ludowe instrumenty muzyczne polskiego obszaru karpackiego [Folk Musical Instruments from The Polish Part of Carpathian Mountains]. Rzeszow: Muzeum Okr^gowe.

37. Kunst, J. (1950). Musicologica: A Study of the Nature of Ethnomusicology. Its Problems, Methods and Representatives Personalities. Amsterdam.

38. Kvytka, K. (1928). Ангемітонні примітиви і теорія Сокальского [Pentatonic Fundamentals and Sokalski's Theory]. Етнографічний вісник УАН. Кн.6, 82-83.

39. Kvytka, K. (1928). Максимович і Аляб'єв в історії збирання українських мелодій [Maksymowicz and Alabjew in the History of Collecting Ukrainian Songs]. In: Первісне громадянство та його пережитки на Україні [Primary Societies and their Relics in Ukraine]. Kyiv. Is. 1, 119-144.

40. Ljudkewycz, S. (1906, 1907). Гaлицькo-pycькi нapoднi мeльoдiї, 3i6pam iia фoнoгpaф Йocифoм Poздoльcьким, cпиcaв i зpeдaгyвaв Cтaнicлaв ЛюДкєвич [Halicz-Rus ' Melodies of Folk Songs Collected with Phonograph by Osip Rozdolskij, Transcribed and Edited by Stanislaw Ljudkewycz]. Lviv. Част. 1-2. Eтнoгaфiчний збірник НТШ, тт XXI-XXII.

41. Lukaniuk, B. (2006). Do istorii termina «etnomuzikologija» [To the History of the Term «Ethnomusicology»]. Etnomuzika, 1. Lviv, 9-32.

42. Lukaniuk, B. (2015). Лiнeapнicть в мeлoгeнeтичних аудіях. [Linearity in Melogenetic Studies]. In: Etnomuzykologia na przelomie tysi^cleci: historia, teoria, metodologia -- Етнoмyзикoлoгiя ш злaмi тиcячoлiть: icTopia, reopN, мeтoдoлoгiя [Ethnomusicology On The Turn of Millenium. Its History, Theory, Methodology]. Wroclaw: Wydawnictwo Uniwersytetu Wroclawskiego, 13-30.

43. Lukaniuk, B., & Rybak, J. (2015) Кoнкypc нa Вoлинcькi нapoднi nicm в 1934/35 нaвчaльнoмy po^. Вибнaнe [A Contest on Volynian Folk Song in School Year 1934/35, a Choice]. Rivne: Derzavnij Humanitarnij Universytet.

44. Lukaszenko, L., & Pohylievytsch, H. (2006). Тpaдицiйнi nicmукpaїнцiв niвнiчнoгo Підляшшя. 3a мaтepiaлaми єкєпєди- цій 1999-2001 poiUB Лapиcи Лyкaшeнкo тa Гaлини noxmeBnu [Traditional Songs of the Northern Part of the Region of Podlasie], B. Lukaniuk (Ed.). Lviv: Kamula.

45. Macijevskij, I. (2012). Myзичнi iнcmpyмeнmu гуцулів [MusicalInstruments of Hutsuls]. Бійниця: HoBa книга.

46. Mazur-Hanaj, R. (2009). The lirnyk-dziad and his songs. In: Traditional Musical Cultures in Central-Eastern Europe. Ecclesiastical and Folk Transmission. Warsaw: Warsaw Learned Society, University of Warsaw, 397-414.

47. Mazur-Hanaj, R. (2016). Spod niebieskiej gory 2 [From under the Blue Mountain 2]. CD series «In crudo», 17.

48. Mierczynski, S. (1965). Muzyka Huculszczyzny [Music of Hutsuls]. J.St^szewski (Ed.). Krakow: Polskie Wydawnictwo Muzyczne.

49. Moszynski, K. (1932). O badaniach muzyczno-etnograficznych na Polesiu [About Music-ethnographical Investigations in Polissja]. LudSlowiahski, vol. 3/1, 1-15.

50. Moszynski, K. (1929, 1934, 1939). Kultura ludowa Slowian [Folk culture of Slavs]. Part I. Kultura materialna (1929), part II/1, 2 (1934, 1939) Kultura duchowa. Krakow: Polska Akademia Umiej^tnosci.

51. Noll, W (1993). Мopaльний aвтopитeт тa cycn^^ poль оліпих 6apgiB в Y^arni [Moral Authority of Blind Bards and their Social Role in Ukraine]. Poдoвiд, hhc.to 6, 16-36.

52. Noll, W (1999). Тpaнcфopмaцiя Гpoмaдянcькoгo Cycniльcтвa.Ycнa Icrnopin Yкpaїнcькoї Ceлянcькoї Kynwmypii 19201930 іюкіа [Transformation of the Civil Society. The Ukrainian Itopia of the Ukrainian Celian Culture 1920-1930]. Київ: PogoBig.

53. Noll, W (2023). The Transformation of Civil Society: An Oral History of Ukrainian Peasant Culture 1920s to 1930. Mc Gill-Quessn's University Press. DOI: https://doi.org/10.2307/jj.3816078.

54. Oshurkewycz, O., & Rybak, J. (2002). Лірницькі пісні з Полісся [Songs of Hurdy-gurdy Players from Polissje]. Матеріали до вивчання лірницької традиції. Tarnra, впopядкyвaння і примітки Oлeкcи Oшypкeвичa. Ho™ тpaнcкpипцiї Юpiя Рибака. Rrine: Ьуіу State Musk Academy after name of M. Lysenko.

55. Przerembsky Z. (2022). Lira korbowa w tradycji kulturowej Rzeczpospolitej [Hurdy-gurdy in Cultural Tradition of Polish Republic]. Lublm: Polkymma.

56. St^szewsky J. (1959, 1960). Monona rytmow mazurkowych na Mazowszu Polnym: studrnm anahtyczne [Morphology of Mazurka Rhythms іп Mazovia: Analytical Study]. Muzyka, IV/4 (1959), 147-159, V/2 (1960), 29-53.

57. St^szewsky J. (1965). Chmiel: szkk problematyk etnomuzycznej w^tku [Chmkl: An Outlme of Ethnomuskal Problems of the Thread]. Muzyka, X/1, 3-33.

58. Klymenko, I, & Murzma, O. (2008). Kijiws'ka Laboratorija etnomuzykologn 1992-2007 [Kyev Laboratory of Ethnomuskology]. Problemy etnomuzykologii, vol. III. Krjrw.

59. St^szewsky J. (1992). Zur Geschkhte des Termmus «Ethnomuskology». Von der Vielfalt musikalischer Kultur: Festschrift Josefs Kuckertz. Rйdiger Schumacher, Amf/Salzburg (Eds). 527-534.

60. Vachmna, L. (2002). Piesni ludowe Polakow Ukrainy. Hicewa Kytuiiypa Пoльcькo'ї Дулстри Ikpaiiiii [Song Culture of Poles in Ukraine]. K^w: Derzavnyj Komtiet PoUtyRA Informacynoj.

61. Zeranska-Kommek, S. (1990). Kultura muzyczna mniejszosci narodowych wPolsce. Litwini, Bialorusini, Ukraihcy [Musical Culture of National Minorities in Poland. Lithuanians, Belorussians, Ukrainians]. Warszawa: Unwersytet WarszawskL

Размещено на Allbest.ru