| Popis: |
The purpose of the article is to actualise the role of the outstanding Ukrainian folklorist and ethnographer Klyment Kvitka (1880-1953) in the study of the phenomenon of kobzar tradition and kobzars as a professional and social group; to highlight the achievements of K. Kvitka in the field of kobzar tradition, to evaluate them in terms of culture, art, and music sociology overlap. Among the research principles and methods used in the article, there is historical (chronological), source analysis (historiographic), art, comparative, and analytical. These methods have allowed both to analyse the works on kobzar tradition by K. Kvitka and to evaluate them in modernity terms, compare them with parallel studies on kobzar tradition at the beginning of the twentieth century, moreover, to provide insight into functioning specifics of this phenomenon under changes in its existence environment. The scientific novelty of the research consists in the presentation and analysis of K. Kvitka’s works regarding kobzar tradition as art historical and musical, sociological projects and rethinking the role of the artist in the historiography of kobzar tradition. The article is based on the analysis of K. Kvitka’s works “Professional folk singers and musicians in Ukraine: Program for study the work and life” (1924), “Demand for research of folk music in Ukraine” (1925), “Musical Ethnography in Ukraine in the post-revolutionary years” (1926), “Lirnyks’ living” (1928), etc. Special attention is paid to work “Professional folk singers and musicians in Ukraine: Program for study the work and life”, which is a questionnaire for the fieldwork of a folklorist-ethnographer. Following the questions contained in the study of K. Kvitka, we can make a relevant art and sociological snapshot about the Ukrainian kobzar tradition of the early 20th century. The conclusions of the article actualise the folklore and ethnographic research of K. Kvitka concerning kobzar tradition at the present stage. The significance of K. Kvitka’s works lies in the possibility of their use for new musical and sociological research, evaluation of the sharing conditions of musical folklore and post-folk practices, and analysis of the latest regeneration of kobzar traditions. |
