TARAS SHEVCHENKO’S OEUVRE IN THE FORMATION OF UKRAINIAN MUSIC ETHNOPEDAGOGICS

  • Myron Vovk Vasyl Stefanyk Precarpathian National University, Ivano-Frankivsk, Ukraine
  • Мykhailo Stefanyuk Vasyl Stefanyk Precarpathian National University, Ivano-Frankivsk, Ukraine
Keywords: folklore, Kossacks’ art, music, national culture, bringing up ideal, ethnopedagogics

Abstract

The author makes an attempt of analytical analyses of formation of national feelings and consciousness that is impossible without mother tongue, national songs, customs and traditions, without historical truth on the materials of T. Shevchenko’s oeuvre. «Kobzar»’s poetry grew up from the folk ethic preserving song freedom, graciousness, rhythmic and intonation variety. Alongside with this, Sevchenko’s works of later period present quite a new art quality. «Kobzar»’s new quality means folk song symbolism that of musical ethnopedagogics and pedagogical wisdom of Ukrainian nation.
The historicism of Ukrainian musical ethno-pedagogics has been lost by our people through ages because of lack of statehood. Though, it has preserved bright samples of songful oeuvre which in its turn has become the artistic expression of thoughts and feelings. T.H. Shevchenko on the empirical level used examples of Ukrainian songs for upbringing children, youth in particular. Folk songs have become bright samples of ethno-pedagogical works by means of which Ukrainian youth was learning its history. It has also been brought up by people on the life examples of fighters-heroes.
Taras Shevchenko’s musical and pedagogical inheritance analysis proves that majority of the songs used by the poet shows the upbringing problems as something unitable with ethno-pedagogics and the formation of spirituality by means of music. Those were the works by Hydne, Motsart, Bethhoven, Shopen which rose up high feelings in Shevchenko. Musical ethno-pedagogical ideal was expressed in the poet through his love for the Motherland, through organic unison with native nature, customs and traditions, through the mother tongue, its word, which was put by the poet to guide the Ukrainian nation. According to Shevchenko, clever consciousness means deep religiosity. Carol songs, spring songs, bread-making and house-hold Ukrainian songs often reflect Ukrainian person’s religious mood and his/her world outlook, which are enlightened with God’s love in melodic moods.
Shevchenko word singing has been contributing up till now to the artistic traditions development that has formed musicality of the nation and makes people think over the eternal question of existence, feel the inside waking-up of the soul miracle and tries to reach by mind the logics of the musical thought.

References

Bilynska M. Kobzar is Playing, Singing / M. Bilinska.-K.: Musical Ukraine,1981.P.48-54.

Vashchenko H. Upbringing Ideal /H.Vashchenko // Poltava visnyk.-Poltava, 1994.№4.-p.72-87.

Poberezhna H., Shcherytsia T. General Theory of Music / H. Shcherytsia.-K.: Higher School, 2004.-352 p.

Stelmakhovych M. Ukrainianknowing in National School:

Guidebook for teachers / M.Stelmakhovych.- Ivano-Frankivsk: Plai, 1995. - 204 p.

Ukrainian Ethnopedagogics: educ.-method.guidebook / edit. by V. Kononenko.- Kyiv- Ivano-Frankivsk: Plai, 2005. 403 p.

Franko I. Works in twenty issues / I. Franko . K.: Stateissuer, 1995.-№.17.

Shevcenko T.H. Authobiography. Diary / T.Shevchenko. K.: Dnieper, 1988.9.

Shevchenko T.H. Kobzar / T. Shevchenko. K.: Dnieper, 1983.

Published
2020-12-30
How to Cite
Vovk, M., & StefanyukМ. (2020). TARAS SHEVCHENKO’S OEUVRE IN THE FORMATION OF UKRAINIAN MUSIC ETHNOPEDAGOGICS. Art Education: Content, Technologies, Management, (16), 104-116. https://doi.org/10.37041/2410-4434-2020-16-8
Section
DIVERSIFICATION OF THE CONTENT OF MODERN ART EDUCATION