PROBLEMS OF PROFESSIONALISM OF CHORAL ART ON THE PAGES OF THE JOURNAL «UKRAINIAN MUSIC» 1937–1939

Abstract

Statement of the problem. Ukrainian choral art is a socio-cultural phenomenon that has ancient origins and traditions, the basis of which are national and mental features, generally recognized abilities of Ukrainians to sing, rich folklore and song heritage and religious and musical rituals. The phases of the rise of this art were determined not only by historical and sociocultural circumstances and social demands, but also by international contacts. Its professionalism is a complex issue, especially in historical retrospective, because there were various forms of this kind of music-making, the performance specificity of which lies in the interpretive synthesis of the relevant skills and knowledge of both the conductor and the group of singers.
Analysis of the latest research and publications. Some aspects of this problem have already been considered by scientists, in particular, its historical and cultural context (A. Lashchenko), differentiation of the professionalism of group singing in academic and folk singing traditions (O. Bench-Shokalo), the professionalism of the choirmaster (N. Seleznyova), the professional activity of individual choral centers (L. Rudenko, L. Khanyk, etc.), regional choral activity in the context of professionalization of musical life (I. Bermes, O. Mironova, I. Bevska, etc.), etc. However, the aspect of the role of musical periodicals in the growth of the professionalism of regional choral singing of a certain historical stage remained almost unnoticed, which prompts its coverage.
The aim of the article is to identify the main angles and significance of publications from the journal «Ukrainian Music» of the late 1930 s for the growth of professional skills of Galician conductors and choirs.
Statement of the main material. The last decades of the nineteenth century and the first third of the twentieth century (up to 1939 inclusive) were marked by a fairly powerful rise in Ukrainian choral art in Galicia. It was prepared by the previous process of national self-awareness and at the same time influenced it, joining the socio-political and general cultural
movement with an organic component. On the other hand, it was a priority component of the process of professionalization of the musical culture of the region as a whole. Dagmara Duvirak called the emergence of SUProM in 1934, an organization that put forward «high musical professionalism» as the first and main criterion as the «highest» and «final» link in this process [4; 10]. The final link of SUProM was the establishment of a center for coordinating the efforts of all Galician musicians by professionally educated and socially active artists in Lviv. As you know, several sections responsible for improving the professional level of functioning of various musical areas (pedagogical, performing, composing, musicological) were created.