Ukrainian music performance schools: regional aspect
DOI:
https://doi.org/10.28925/2518-766X.2020.5.4Keywords:
musical culture of Western Ukraine; end of 19 — first half of 20 century; piano performance; piano schools; pianists-performers and teachers of Ternopil.Abstract
The analysis of the definition of “music performance school” in musicological and music-pedagogical studies of modern domestic scientists demonstrates different methodological approaches to its interpretation. This phenomenon is considered in terms of historical and stylistic approach (N. Kashkadamova) and is included in the broader cultural and music-pedagogical context (N. Guralnyk, V. Shulgina). It deals with the problems of professional training of the teacher of art disciplines and art pedagogy (O. Rudnytska, G. Padalka,
O. Oleksiuk, O. Mykhailychenko and others).
As a socio-cultural and personal-value phenomenon of the music-performing and pedagogical tradition, or the factor of its preservation, transaction and transformation in the scientific discourse, the music performance school can be interpreted in a single, collective and universal dimension. In this context, the problem of studying the regionalism of music performance schools as a dynamic
historical and cultural phenomenon is actualised. A thorough exploration of the history of regional piano schools has become the topic of a number of musicological studies. Thus, the works of N. Kashkadamova, T. Starukh, L. Mazepa and others are devoted to the piano art of Lviv. The educational and pedagogical traditions of this school found continuation in the activity of the pianists, pedagogues and performers of Ukraine and abroad, mostly Western Ukraine The purpose of the publication is to analyse the historical and cultural backgrounds and main aspects of the formation of professional piano performance in Ternopil at the end of the 19th — the first half
of the 20th century. Based on historical, comparative and individual approaches, the figures of famous piano performers and teachers associated with Ternopil are highlighted. The initial stage of the formation of piano performance in the region during the end of the 19th — the first third of the 20th century is traced as a transition from an amateur period to academic performance and professional music education.
The attention is focused on the beginning of the piano class at the branch of Lysenko Higher Music Institute (VMIL) in Ternopil. The article highlights the role of representatives of Lviv piano school, the activity of some performers, composers and pedagogues as founders of piano performance in the region. The creative figures of the performers and piano pedagogues of S. Krushelnytska TMK, V. Hnatiuk TNPU
as a follower of the Lviv piano school tradition are briefly presented.
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