Zur Entstehung der ukrainischen Nationalmusik bis Mykola Lysenko
Bibliographic Data
| ID | 21291802 |
|---|---|
| Authors | Helmut Loos (0000-0002-4742-3639, Em. Professor für Historische Musikwissenschaft an der Universität Leipzig, corresponding author) |
| Year | 2023 |
| Volume | 80 |
| Issue | 3 |
| Pages | 170-181 |
| Publication date | 2023-01-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Archiv für Musikwissenschaft (JOURNAL) |
| Journal identifiers | ISSN: 0003-9292 • E-ISSN: 2366-2794 |
| Publisher | Wissenschaftliche Verlagsgesellschaft mbH (PUBLISHER • DE) |
| DOI | 10.25162/afmw-2023-0009 |
| OpenAlex | W4387402217 |
| Language | DE |
Brutal repression long prevented the Ukrainian national movement, which began in the eighteenth century, from becoming more widely known. The Hetmanate of the Zaporozhian Cossacks became the model for the idea of the Ukrainian nation-state. Beginning with Wernyhora, the Cossack-portrayed as a blind singer, following the example of Homer and Ossian-initiated the identity of Ukrainian national consciousness with his mythical songs. Taras Shevchenko become the leading national poet with his collection of poems Kobsar (1840), while Ostap Weressai was a preeminent kobsar (1803-1890). Through the composing of folk songs and by emulating the kobsar style, Mykola Lysenko arrived at his own mode of expression, which is paradigmatically realized in two rhapsodies for piano
| Highly cited | No |
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