The dissertation is devoted to the concept substantiation of the Ukrainian pop song stylistic-semantic model in Galicia in the 1930s-1980s as a means of creating national identity.
The research theoretical basis is concentrated in the following problems areas: national identity, mentality, thinking archetypes, Ukrainian culture archetypes (according to S. Krymskyi’s concept) and its reflection in art, musical thinking general problems and national primal transformation in music. As a result, the definition was proposed: national identity is a syncretic phenomenon that is determined by a specific set of national character traits (psychomental traits and behavioral reactions) in the national self-identification process through the love prism for one’s people and its values, it is the main factor for «launching» the national self-preservation mechanisms. The given understanding of national identity in the musicology field – in the understanding of other key research concepts. An understanding of national musical identity is offered as a result of identifying an ethnic element in music, identifying oneself with one’s own nation, expressed in the sound of a musical whole, which is conveyed by a set of certain conceptual and lexical elements that indicate belonging to one or another nation and its culture and are recognizable and mentally close, «own» for the representatives of this society. The dissertation claims that the national musical identity is derived and dependent on the musical mentality because it is the thinking way that governs the creation of a specific national musical-semiotic thesaurus and the reflection of the nation’s mental structure in the musical whole.
The multiple samples of the Ukrainian pop song’s stylistic-semantic model which created in the 1930s-1980s in Galicia were analyzed. These are works by A. Kos-Anatolskyi, Y. Kozak, B. Vesolovskyi, S. Huminilovych, V. Trytyak, Y. Barnych, M. Skoryk, B. Yanivskyi, V. Ivasyuk, I. Bilozir, V. Kaminskyi, etc. Most of the compositions, as well as the concepts of the musical films «The Suitors», «Sow, Be Born», «Red Ruta», «“Vatra” Calls for a Holiday», «“Vatra” in the Carpathians», etc., which are analyzed for the first time through the prism of revealing the national thinking archetypes.
The results of interviews and personal communication with V. Kaminskyi, A. Skoryk, M. Lazaruk and others are included in the dissertation.
It was established that this model arose at the turn of the 1920s and 1930s in connection with the social need to create Ukrainian nationally identical entertainment content in the multinational Galician environment. The model invariant absorbed genre and stylistic features of Western European and Latin American entertainment music, Lviv batyar song, Old Galician elegy, rifle song, Lemki and Carpathian folklore, dance (tango, foxtrot, waltz, etc.), jazz (blues) and Ukrainian singing. The first Ukrainian hits became a national identity reflection through the Heart and the Nature –Motherland archetypes.
A. Kos-Anatolskyi, Y. Kozak, R. Shukhevych, L. Yablonskyi, B. Vesolovsky, S. Huminilovych, Y. Barnych, V. Ston-Baltarovych, V. Bezkorovainyi, V. Adamaniv, V. Trytyak, O. Kurochko, N. Nyzhankivskyi and other artists were the model creators. They had a significant impact on the Ukrainian pop music development, in including in conditions of emigration, underground and Bolshevik-Stalinist bans.
The song’s stylistic-semantic model acquired new and diverse features in the work by I. Khoma, M. Skoryk, B.-Y. Yanivskyi, V. Ivasyuk, I. Bilozir, V. Kaminskyi, B. Yurkiv, D. Tsygankov, L. Yakym, H. Havrylets and other composers in the post-war and subsequent decades of the Soviet era, up to and including the 1980s. The expression of sensuality and lyricism, subtle sophistry, caused by national cordocentrism grew, and the appeal to the Nature – Native land archetypes, the Heart archetypes, less often – Words archetypes as markers of national thinking and values increased in the model development process.
The periodization of the Ukrainian pop song’s stylistic-semantic model of the 1930s–1980s in Galicia is carried out, it is distinguished: interwar («Pan-Polish», late 1920s–1930s)), war (Nazi and Bolshevik, 1939–1944), postwar Stalinist and post-Stalinist (1945–1950s), 1960s (Khrushchev, 1960s–early 1970s), and Brezhnev-stagnant (1970s–1980s) – those years).
Key words: Ukrainian identity, Ukrainian musical mentality, semantics, archetype, cordocentrism, lyricism, folklorism, Ukrainian pop art, pop music, musical art, music of Galicia, music of Lviv, songwriting, composer, musical culture.
