ARCHETYPES OF UKRAINIAN CULTURE IN MUSICIAN DISCOURSE

Abstract

The article reviews scientific musicological works devoted to the archetypes of Ukrainian culture and their embodiment in the works of Ukrainian composers. Given the diversity of research on this issue, the article attempts to systematize them by identifying two research directions: 1) with a significant theoretical and methodological basis for studying the complex phenomenon of the archetype; 2) with a focus on the embodiment of specific (individual) archetypes in musical works. The analysis of the works demonstrated both the effectiveness and conventionality of such a division, because in thorough theoretical works, as a rule, an analysis of individual archetypes is contained and ways of their implementation in works are studied. To outline the research area, a comparative analysis of the systems of archetypes systems of Ukrainian culture, presented in the works of philosophers, cultural scientists, and art historians, was carried out. It was found that there is no single system of archetypes, which does not deny the presence of semantic intersections between the works of different authors. The analyzed scientific works emphasize the efforts of researchers to outline the semantic boundaries of the concept of «archetype» and to explore the related concept of “archetypal image” (M. Severynova) and myth (G. Kukharyk). Attention is paid to the study of individual archetypes: Triple Music (I. Zinkiv), Kupala (A. Gladyshko), Rebirth (G. Plecheliuk), spring rites – Light, Water, World Tree (Yu Alzhnev, V. Osadcha). It is noted that some archetypes are not contained in philosophical and culturological scientific works, but are considered by the authors as archetypes of Ukrainian musical culture. To achieve the goal, the article uses analytical, systematic, comparative research methods.