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DOI: https://doi.org/10.34069/AI/2022.54.06.24
How to Cite:
Dovzhynets, I., Govorukhina, N., Kopeliuk, O., Ovchar, O., & Drach, I. (2022). Musical projects in Ukraine of the XXI century as
trends in contemporary art. Amazonia Investiga, 11(54), 256-263. https://doi.org/10.34069/AI/2022.54.06.24
Musical projects in Ukraine of the XXI century as trends in
contemporary art
Proyectos musicales en la Ucrania del siglo XXI como tendencias del arte contemporáneo
Received: May 10, 2022 Accepted: July 3, 2022
Written by:
Dovzhynets Inna97
https://orcid.org/0000-0002-9663-2576
Govorukhina Nataliya98
https://orcid.org/0000-0003-3100-9035
Kopeliuk Oleh99
https://orcid.org/0000-0002-0428-1538
Ovchar Oleksandr100
https://orcid.org/0000-0003-1274-2362
Drach Iryna101
https://orcid.org/0000-0003-2089-9570
Abstract
The relevance of scientific work is determined by
the need to identify and justify the syntactic-
semantic connection between contemporary
musical art and the socio-cultural world space.
The aim of the article is a comparative analysis
of tradition-innovation relation in the context of
musical art in modern Ukraine on the example of
leading musical projects. Achievement of the
objectives was possible due to the use of a
number of methods of scientific research, among
which analysis, synthesis, generalization, and
systematization, as well as the method of
comparativism. The relevance of studying the
correlative connection between traditional
Ukrainian cultural space and global artistic
trends, gravitating toward pluralism and
multiculturalism, as well as the establishment of
intercultural communication was confirmed. The
novelty of the scientific article consists in the
study of musical projects as objects of the sphere
of art for the identification of Ukrainian
tendencies. The practical value of the work is
focused on providing the scientific space with
qualitative information content on the topic of the
97
Doctor of Arts, Associate professor Professor of а Department оf General and Specialized Piano I.P. Kotlyarevsky Kharkiv National
University of Arts, Orchestra Faculty, Ukraine.
98
PhD in Arts Studies, full professor Rector Solo Singing and Opera Studies Department Performance and Musicology Faculty, I.P.
Kotlyarevsky Kharkiv National University of Arts, Ukraine.
99
PhD in Art Studies, Accociate Professor Special Piano Department Kharkiv I.P. Kotlyarevsky National University of Arts, Ukraine.
100
PhD in Philosophy, associate professor Head of the Department of Orchestral Wind Instruments and Opera and Symphony
Conducting, Faculty of the orchestra Kharkiv I.P.Kotlyarevsky National University of Arts, Ukraine.
101
Doctor habilitatus of musicology, Head of the Department of History of Ukrainian and Foreign Music, the Performance and
Musicology Faculty I.P. Kotlyarevsky Kharkiv National University of Arts, Ukraine.
Dovzhynets, I., Govorukhina, N., Kopeliuk, O., Ovchar, O., & Drach, I. / Volume 11 - Issue 54: 256-263 / June, 2022
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formation of Ukrainian festivals and explaining
their specificity. Thus, the authors have
summarized a comprehensive cultural research
and identified the prospects for further
developments with the online measurement of
audiovisual int of modern Ukraine.
Keywords: academic music, innovation,
tradition, festival, national identity,
experimentation, ethnic music.
Introduction
Art as a special form of human activity is formed
based on the correlative relationship between
syntax and semantics. Thanks to this interaction,
form formation within the sociocultural space is
combined with a special semantic load. In
particular, this applies to musical art, which
today appears as a cultural text in which cultural
national characteristics are laid down. A similar
perception of a musical work as a code of the
nation makes it possible not only to trace the
historical retrospective of the formation of
national identity but also to understand the causes
of the transformations taking place in
contemporary artistic processes. In this context,
we are talking specifically about the production
of the latest trends in art (Gilstrap et al., 2021). It
should be noted that the problem of research of
modern trends in art, music, in particular, is
actively considered by Ukrainian and foreign
authors in the framework of scientific research
(Choi & Lee, 2019). For example, the Chinese
researcher Xin (2021) conducted an empirical
study to identify trends in contemporary Chinese
academic music. Specifically, the author found
that contemporary Chinese academic music is
appropriately interpreted as a symbiosis of
Eastern and Western musical traditions. The
study particularly draws attention to Wagnerian
contributions to the creation of operas, the
formation of French lyricism, and features of
orchestral writing that have been borrowed by
their Chinese counterparts in contemporary
academic music (Xin, 2021). Moreover, Xin
(2021) analyzed the image of the contemporary
academic music performer, noting the need for
his universality. Thus, the performer must
combine vocal, dance, and even martial arts skills
in the course of his performance. For her part,
researcher Gintere (2020) looked at
contemporary musical trends with the example of
noise music. According to the author, noise is
“the hottest trend in the music art world today”
(Gintere, 2020). The scholar attempted to trace
the emergence of the noise type of music in linear
historical development, given its non-traditional
nature as a mode of musical expression (Gintere,
2020). Eventually, Gintere (2020) proposed her
own unconventional way of studying noise, the
essence of which was the use of digital games. It
is the creation of an experimental game, based on
the educational theme of noise music
exploration, which will allow not only to interest
users but also to reproduce a new method of
documenting the latest trends in the aesthetic
space.
Turning to the Ukrainian scientific field of
contemporary music research, it is necessary to
mention such authors as Samikova (2021),
Melnychenko & Vynogradcha (2020). In
particular, Samikova (2021) studied the
principles of supporting national identity and
multiculturalism on the example of
contemporary Ukrainian musical content. The
author analyzed the selected issues with the help
of the YouTube platform, which allowed her to
investigate the trends towards the use of
Ukrainian national leitmotifs and authentic
geolocations in the latest music formation. As an
example, we can take the winner of the
international musical contest "Eurovision-2022",
namely the Ukrainian group “Kalush Orchestra”,
which in its composition united both Ukrainian
folk music and modern musical directions of pop
and rap, and national clothes and modern types
of dance, among which is hip-hop. At the same
time, Melnychenko & Vynogradcha (2020)
focused their analysis of contemporary musical
art on individual media practices, among them
holograms. Researchers believe that the use of
the latest technologies in the process of musical
performance allows a different perspective on the
very specificity of the work, overcoming the
limitations of physical space.
In any case, we see that the specificity of the
study of the problem of contemporary trends in
music art lies in the application of a varied range
of methods and a wide choice of research aspects.
However, despite this, it remains relevant to
consider individual musical projects as responses
to modern trends in art on the example of
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Ukrainian socio-cultural space. Therefore, the
scientific article aims to analyze the combination
of traditions and innovations in the art of music
on the example of individual musical projects of
independent Ukraine. The achievement of the
goal was made possible by the implementation of
a number of tasks:
1. To consider the specificity of formation of
the theoretical field of the problem of
research of Ukrainian musical art;
2. To analyze modern musical projects in the
context of a combination of traditional and
innovative approaches;
3. To carry out correlative analysis of related
research in accordance with the results of the
study of musical projects in Ukraine of the
XXI century.
Literature Review
The prospect of research of Ukrainian musical
projects of the ХХI century as trends of modern
artistic space presupposes the presence of a
theoretical basis, according to which the
possibility of reasonable analysis of the
correlation between the Ukrainian musical
content and modern global cultural trends is
provided. Consequently, it is reasonable to
consider individual developments of Ukrainian
authors, in the context of which a linear
retrospective of the formation of Ukrainian
musical art is built.
First of all, we should start with the epoch of the
twentieth century, which became an impetus to
the production of features of Ukrainian musical
art and the development of the composer's pleiad
despite a number of socio-cultural constraints. In
particular, Niemtsova (2021) in her scientific
works considered the specificity of separate
musical trends, which emerged or actualized in
the twentieth century. The author noted that the
samples of early Ukrainian musical art were
characterized by syncretism, according to which
the principle of unity of the spiritual and physical
was preserved. In this context, we are talking
about the close relationship between the musical
work and its physical embodiment, which is
dance, which found manifestation in religious
rituals. At the same time, Niemtsova (2021)
argued that Ukrainian music actively developed
in the direction of academic art, as evidenced by
the presence of a powerful school of
composition. Finally, given the Western
European gravitation toward modernism in the
twentieth century, the author found that
Ukrainian music of the twentieth century is
characterized by a traditional-innovative
connection, in particular, a combination of
archaic and unconventional.
Scientists Husarchuk, Severynova,
Derevianchenko, Putiatytska & Hnatiuk (2021)
devoted their work to the formation of national
mentality on the example of the formation of
spiritual concerto in the works of Ukrainian
composers and its transformations in the XX-
XXI centuries. Based on the analysis of a
significant number of musical opuses it was
found that the genre of the spiritual concerto,
which evolved throughout the XVII-XXI
centuries, retained its archetypical features and
acquired new ones. In particular, the authors
showed a tendency to increase the works of
spiritual content in the modern period, their “new
sacredness” and concert-festival orientation.
The topic of Soviet influence on the formation of
Ukrainian musical art was highlighted by
Lisniak, Cherneta & Tukova (2022) in their
scientific research. Researchers have identified
the contradictory nature of the phenomenon of
Ukrainian music-making in the 1930s, the
essence of which was, on the one hand, financial
and material support, which contributed to the
spread of the amateur musical movement, and on
the other hand, the pressure of “totalitarian
machine”, which produced the destruction of
Ukrainianness and political bias.
Separate aspects and tendencies in the history of
Ukrainian musical art were considered by
Muravitska (2021), Marchenko (2021), and
Zubai (2022). In particular, the question of the
formation and development of Ukrainian
classical crossover in the twentieth century and
its manifestations in the musical culture of
independent Ukraine; the role and influence of
accordion use on the development of Ukrainian
contemporary music; the importance of
functioning in the musical socio-cultural space of
Ukraine the image of pianist-composer and his
functions as a subject of music-making, etc. As
you can see, studies of the formation of
Ukrainian musical art are interrelated, as they
reproduce the linear-historical development of
the phenomenon of Ukrainian music as such,
resulting in a number of arguments to confirm the
conformity of music-making of independent
Ukraine with modern innovative trends.
Consequently, the resulting literary analysis will
allow substantiating the specificity of Ukrainian
musical projects of the XXI century, which is the
aim of the scientific article.
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Methodology
The study of the problems of musical projects in
Ukraine of the XXI century as trends of
contemporary art was carried out in three stages.
Firstly, a scientific and methodological literary
basis based on Ukrainian and foreign sources was
formed to argue the relevance of the topic of the
newest trends in contemporary Ukrainian music-
making and the search of historical substantiation
of the correlative connection between the
Ukrainian national culture, musical in particular,
and global innovative trends. The second stage of
scientific exploration involved the analysis of a
number of international festivals held in the
territory of Ukraine to identify their specificity
and compare them with international practices.
At the third stage of the research work, a
comparative and correlative analysis of related
Ukrainian and foreign studies of the topic of
musical projects in Ukraine in the XXI century
was carried out, followed by a generalization of
the obtained results.
During the three stages of the study of the chosen
scientific theme, the authors have used a number
of general scientific and special methods of
research in accordance with the culturological
and art history specificity of the work. In
particular, the group of general scientific
methods of obtaining new knowledge was
represented by the analytical method, synthesis,
methods of comparison and generalization, as
well as methods of systematization and analogy.
Among the special methods of scientific
research, we find the comparative method.
Consequently, the analytical method of research
was used to process separate blocks of the
literary component of the scientific article on the
topics of modern world trends in musical art,
features of the formation of Ukrainian music, the
functioning of musical projects of the XXI
century, as well as search for common features of
samples of Ukrainian and foreign musical art.
The method of synthesis was used to combine
individual aspects of the problem of conducting
musical projects of independent Ukraine, in
particular historical, cultural, and art history, in
order to identify common national musical
trends. The method of comparison allowed to
find out the peculiarities of conducting and
ideological direction of Ukrainian music
festivals, among which “Kyiv Music Fest”,
“Premiers of the Season”, “Kharkiv
Assemblies”, “Musical Impressions of Ukraine”,
“Bach-fest”, “Dreamland”, etc. Subsequently,
the results of the study of musical projects were
compared with similar studies in the Ukrainian
scientific circle for the past three years. The
method of generalization helped to summarize
the results of the study, as well as to determine
the prospects for further scientific research. The
method of systematization allowed ordering the
information about the presence and
popularization of modern Ukrainian musical
projects with international direction. In addition,
the method of analogies contributed to the correct
comparison of global trends in music and the
latest trends in the production of Ukrainian
musical content.
At the same time, the research work was built
based on the comparative method of research, as
the specificity of the article provided for the
combination of Ukrainian and foreign aspects. In
particular, in this context, the comparative
method helped to establish the similarities and
differences in the formation and functioning of
the projects of musical direction on the territory
of the Ukrainian state and individual
representatives of the Western European region.
Consequently, the results of the study were
obtained through the comprehensive application
of the described methodology and the presence
of a strong literary basis in the form of works of
Ukrainian and foreign scholars published in
recent years, which confirms the relevance and
novelty of the scientific study.
Results and Discussion
The uniqueness of contemporary Ukrainian art is
formed in the context of its duality, which is
better revealed through the prism of research of
musical projects. In this context, first of all, one
should pay attention to Ukrainian music festivals
of international importance, which are focused
on support of the European value paradigm and
popularization of Ukrainian culture (Fig. 1).
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Fig. 1. Modern Music Festivals of International Importance in Independent Ukraine.
Source: authors' own development
The first of the festivals presented in Figure 1 is
called “Kyiv Music Fest”. Its specificity lies in
the unification of Ukrainian and foreign
composers to popularize classical music, taking
into account the true national characteristics of
the participants. In fact, this festival is an attempt
of Ukrainian composers to raise their voice in the
world, thus raising Ukrainian culture to the
international arena. This annual musical project
promotes the recognition of young Ukrainian
artists in musical circles and explores the
formation of Ukrainian national identity. This is
confirmed directly in the music festival program
itself (Kyiv Music Fest Program, 2020). Based
on this document, we can highlight two modern
trends in the production of Ukrainian music
content. Firstly, it is a reference to contemporary
Ukrainian history. During the performance of
musical works the issues of modern events on the
territory of Ukraine are raised, which
demonstrates the desire to draw the attention of
the world community to the social and political
situation in the country. Secondly, an aspect of
using the national heritage of Ukrainian culture
plays an important role in the “Kyiv Music Fest”.
In particular, it is worth mentioning composers'
appeal to national leitmotifs and Ukrainian
literary classics. At the same time, the organizers
of the festival pay a lot of attention to searching
of new concert forms, including spectacular
ones: along with traditional chamber, symphonic,
choral, jazz concerts, fusion projects, plastic-
dramatic forms of stage performance,
theatricalized performances with involvement of
electronic musical compositions appear. Finally,
the Kyiv Music Fest is an attempt to establish
intercultural communication and further
cooperation with potential partner countries.
Thus, for example, Berehova (2018) analyzed the
prospects of Ukrainian-Polish cultural
collaboration based on the analysis of the
conduct of the music project “Kyiv Music Fest”.
It should be noted that a similar direction of
cultural activity is found in the musical festivals
“Premiers of the Season”, “Kharkiv
Assemblies”, “Musical Impressions of Ukraine”
and “Bach-fest”: their main purpose is the
popularization of academic classical music. The
festivals are held in leading Ukrainian cities,
which allows you to use the latest digital and
information technology. At the same time, it
should be noted that despite the obvious
similarities, music projects have their own
specifics. In particular, the ideological basis of
the festival “Kharkiv Assemblies” is the
principle of “unity of the world community” by
means of musical art and educational activity.
The musical project “Musical Impressions of
Ukraine” is directed on the popularization of the
musical heritage of Ukraine in a linear-historical
perspective. At the same time, the festivals of
baroque music Bach-fest and Organum actively
promote the music of composers of the
Renaissance and Baroque periods.
A significant part of contemporary musical
projects in Ukraine of the 21st century is focused
on attracting young performers. In this context,
we should focus on such festivals as the “Young
Music Forum,” “Contrasts,” “Two Days and
Two Nights of New Music” and “Dreamland”. In
particular, “Young Music Forum” provides for a
contest of future student composers, the winner
of which will be able to perform his or her own
work during the music festival. The “Contrasts”
Kyiv Music Fest Season premieres Young Music
Forum Contrasts
Two days and two
nights of new music Kharkiv assemblies Musical
Impressions of
Ukraine Dreamland
Bach-fest Organum
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project, held annually in the city of Lviv, is
focused on experimental musical performance.
Therefore, a significant part of the music festival
repertoire is written in the avant-garde style. At
the same time, the musical project “Contrasts”
contains a certain epochal dialogue, the essence
of which lies in the combination of classical and
modern musical premieres (Gilstrap, Teggart,
Cabodi & Hill, 2021).
Turning to the peculiarities of the Two Days and
Two Nights of New Music festival, it is
necessary to note the uniqueness and uniqueness
of its format of organization. In particular, we are
talking about its uninterrupted duration of two
days, as well as the unique core plot of each
cultural event, around which a number of festival
events are concentrated. In fact, the musical
project “Two Days and Two Nights of New
Music” is a combination of all the modern trends
in the field of art, including the prevalence of
installations, performances, multimedia events,
the establishment of new connections with other
cultural forms (experimental theater, synthesis of
arts, etc.). The New Music Festival presents
works of the classical avant-garde, postmodern in
different forms: traditional concerts, theatrical
performances, now and then changing accents
towards opera or instrumental genres. The
festival produces a new intercultural product, the
main message of which is a mutual performance
of musical works (Ukrainian composers by
foreign musicians, and foreign composers by
Ukrainian performers). It is the reproduction of a
new type of intercultural dialogue not only
between performers but between performers and
the audience as well (Choi & Lee, 2019). The
music project stands for synthesis of forms,
expressions, means of art, clearly reproducing
contemporary trends in the artistic sphere.
Finally, the trends of contemporary musical art
described in the previous chapters also find their
manifestation in the holding of the “Dreamland”
festival. The specificity of this cultural project is
in close contact with the folk ethnic tradition.
Thanks to such interaction, we can talk about the
actualization of the issue of Ukrainian national
identity. The combination of musical art and folk
crafts gives a new format to the cultural
formation and educational paradigm. Thus, the
musical project “Dreamland” provides a
comprehensive dialogue with the Ukrainian
heritage and contributes to the popularization of
the national code of Ukrainians.
As you can see, Ukrainian culture is full of bright
examples of musical projects, which potentially
contain tendencies of modern art. The synthesis
of form and meaning formation becomes the
impetus for the re-creation of new cultural
practices, which, on its part, indicates the
development and improvement of cultural
heritage (Oliva & Colombo, 2021). Based on the
above and in confirmation of the relevance of the
study of musical projects during the years of
Ukraine's independence, let us turn to the related
scientific works in the chosen topic. First of all,
it is advisable to consider samples of research by
Ukrainian authors, including the scientific article
by Berezhnyk (2019), dedicated to the analysis of
one of the largest music festivals in Eastern
Europe “Atlas Weekend”. The purpose of his
research work the author chose to identify the
specifics of Ukrainian polygenre festivals and to
create information for the popularization of these
musical projects in Europe. In particular,
Berezhnyk (2019) noted that the latest Ukrainian
scientific research in the field of musical art
focuses mainly on the analysis of classical music
and does not pay attention to other aspects of the
organization of such events. We can argue that
this opinion contradicts the results of the research
study because it was found that the Ukrainian
classical festivals are focused on the combination
of modern innovations and classical traditions,
resulting in a growing variability of both the
musical form and the musical product as a whole.
Finally, Berezhnyk (2019) gave an exhaustive
analysis of the achievements of the Atlas
Weekend music festival, describing the current
problems of the creative sphere. At the same
time, in the process of the scientific study of the
problem of modern music projects, it is important
to refer to the related works of foreign authors.
For example, Mohd Ariffin & Mohamed Jamel
(2021) considered the problematic material
aspects of conducting festivals on the ground. In
particular, their work raised the issue of
providing housing for visitors to the Rainforest
World Music Festival. As a result of their
empirical study, the scholars concluded that the
alignment of material and intellectual resources
is extremely important when organizing a music
project (Mohd Ariffin & Mohamed Jamel, 2021).
For their part, researchers Alonso-Vazquez &
Ballico (2021) focused on the relationship
between conducting the current eight Australian
folk and world music festivals and combating
current environmental issues. Specifically, they
found that the COVID-19 pandemic radically
impacted outdoor festivals by limiting access to
socially accumulated venues and reducing travel.
Nevertheless, music projects have significant
potential for pro-environmental education and
the promotion of contemporary environmental
issues through music. In addition, the field of
music festivals raises another contemporary issue
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related to the proper provision of cultural space
for persons with disabilities (Alvarado, 2022). In
particular, Alvarado (2022) argued that modern
music festivals are actually inaccessible to
people with disabilities due to the lack of
awareness of workers, as well as the lack of
proper technical support. One way or another, the
studies described are implicated in the scientific
article, because they reproduce contemporary
trends in music festivals (Castro-Martínez,
Recasens & Fernandez de Lucio, 2022).
Therefore, it can be noted that besides the
orientation towards national and cultural identity,
as well as the digitalization of space,
contemporary cultural festival practices of the
Western European tradition are characterized by
gravitation towards solving global problems,
among which the environmental problem and the
problem of equality have been identified.
Conclusions
Thus, the authors have carried out the
culturological-comparative analysis of Ukrainian
musical projects of the XXI century in the
context of the production of new trends in the
arts. In particular, the study of the chosen
problematic was conducted in three stages using
general scientific and special methods of
obtaining new knowledge, including
comparative and comparative analyses, as well as
methods of systematization and generalization.
In the process of writing a scientific article, a
number of Ukrainian and foreign works were
analyzed in order to determine the specifics of
trends of the newest Ukrainian musical projects.
It has been established that the prerequisites for
the acquisition by the Ukrainian musical art of an
independent period of its newest format were
socio-cultural changes in the late twentieth
century, which led to the spread of free music-
making and the desire to join the European
tradition of value. The features of separate
Ukrainian projects of contemporary musical art
are considered, among them academic music
festivals (“Kyiv Music Fest”, “Premiers of the
Season”, “Contrasts” etc.), the festival of
experimental music (“Two Days and Two Nights
of New Music”), festivals of baroque music
(Bach-fest, Organum), and also festival of ethnic
music “Dreamland”. The specificity of Ukrainian
music creation is grounded in the principles of
synthesis and variability of forms, appeal to
national identity, as well as the use of modern
digital and multimedia technologies. Trends in
the festival movement of contemporary
Ukrainian musical art have been analyzed,
among which the following was revealed: the
striving for the popularization of academic
music, actualization of modern styles and forms
of presentation, promotion of polygenre musical
projects. At the same time, the tendencies of a
festival musical product within the European
space have been investigated, summarizing that
modern musical art gravitates towards the
reproduction of global problems of the world
community. Prospects for further research are
seen in a detailed examination of audiovisual art
of contemporary independent Ukraine to
establish a comprehensive characteristic picture
of the sphere of Ukrainian culture and search for
alternative methods of popularization of
Ukrainian content within and outside the
Ukrainian state.
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