Music of Ukraine

Folk music in Ukraine retains great vitality to this day. Ritual songs, ballads, and historical songs (dumy) were sung a cappella or accompanied by folk instruments, of which the bandura (a multistringed lutelike instrument) is the most popular. Itinerant blind musicians known as kobzars or lirnyks (depending on their instrument of choice) were a common feature of the Ukrainian countryside until the 20th century. The hopak, an energetic folk dance composed of leaps and kicks, received renewed attention in the 21st century as martial arts practitioners integrated its movements into a self-defense technique based on ethnic Ukrainian traditions.

Church music was patterned on Byzantine and Bulgarian models with local variations evolving in Kyiv in the early period. Polyphonic singing had developed by the 16th century and subsequently was transmitted in the 17th century to Russia, where Ukrainian singers and musical culture soon won a dominant position. The 17th-century composer Mykola Dyletsky introduced soprano singers to church choirs and emphasized emotional expression in his compositions. Ukrainian choral music reached its peak in the 18th and early 19th centuries in the works of Maksym Berezovsky, Dmytro Bortnyansky, and Artem Vedel.

Secular music became ascendant in the 19th century. The opera Zaporozhets za Dunayem (1863; “A Zaporozhian [Cossack] Beyond the Danube”) by Semen Hulak-Artemovsky gained great popularity, as did Kateryna by Mykola Arkas and the compositions of Petro Nishchynsky and Mykhaylo Verbytsky. At the turn of the 20th century, Ukrainian musical life was dominated by Mykola Lysenko, whose output encompassed vocal and choral settings, piano compositions, and operas, including Natalka Poltavka, Utoplena (“The Drowned Girl”), and Taras Bulba. Other major composers of the period were Kyrylo Stetsenko, Yakiv Stepovy, and Mykola Leontovych, the latter excelling in polyphonic arrangements of ancient folk music.

In the early years of the Soviet period, several composers produced works of high artistic merit, particularly Lev Revutsky and Borys Lyatoshynsky and their contemporary in western Ukraine, Stanyslav Lyudkevych. From the mid-1930s, however, political regimentation dampened individual expression and innovation in musical language. Typical among composers of Soviet Ukraine were Kostyantyn Dankevych, Yuly Meytus, and the brothers Yury and Platon Mayboroda. An innovative group of modernist musicians, known as the Kyiv Avant-garde, emerged as a musical force in the 1960s and ’70s. The best-known composer of the group was Valentyn Sylvestrov, who composed in the postindependence period as well.

Popular music grew in importance during the last three decades of the 20th century. The songs of popular composer Volodymyr Ivasiuk, as performed by the chanteuse Sofiya Rotaru, received wide applause. A form of popular music known as estrada (stage entertainment) also grew in popularity. Stage ensembles generally maintained a Europop sound. In the 1980s the Braty Hadiukiny (“Snake Brothers”) band started incorporating a broader range of contemporary influences into their music. By the 1990s rock, ska, punk, and other popular musical styles were commonplace in Ukraine. Ruslana Lyzhichko, winner of the Eurovision Song Contest in 2004, emerged as the country’s first international star of the 21st century.

Theatre and motion pictures

The theatre originated in Ukraine under Western influence in the 17th century. Verse dialogue (intermedia) rapidly developed into a specific genre, the school theatre, whose repertoire expanded to encompass dramatization of Christian legends, historical drama, and puppet theatre (vertep) performed on a stage of two levels. The best example of the Cossack Baroque theatre was the historical play Vladimir (1705) by Feofan Prokopovich (Ukrainian: Teofan Prokopovych). After a period of decline, a Ukrainian ethnographic theatre developed in the 19th century. Folk plays and vaudeville were raised to a high level of artistry by such actors as Mykola Sadovsky and Mariia Zankovetska in the late 19th and early 20th centuries. A lifting of censorship in 1905 permitted a significant expansion of the repertoire to include modern dramas by Lesia Ukrainka (who introduced to the Ukrainian stage both ancient Greek and Shakespearian techniques), Volodymyr Vynnychenko, and Oleksander Oles (an innovator in symbolic plays), as well as translated plays.

The real flowering of the Ukrainian theatre occurred between 1917 and 1933. The Berezil Theatre (1922–33) in Kharkiv, under the artistic director Les Kurbas, was the most distinguished troupe. Preeminent among the playwrights was Mykola Kulish, whose Patetychna Sonata (“Sonata Pathétique”) combined Expressionist techniques with the forms of the Ukrainian vertep. From the mid-1930s, however, the theatre in Ukraine was dominated by Socialist Realism, the style enforced by the Communist Party. Oleksander Korniychuk was the most favoured of the playwrights writing in the approved manner.

Ukrainian film has achieved some marked successes. The director and scenarist Aleksandr Dovzhenko (Ukrainian: Oleksander Dovzhenko) was an important innovator in world cinematography. Several of his works produced in the 1920s and ’30s are considered classics of the silent film era. In later years, Tini zabutykh predkiv (1964; Shadows of Forgotten Ancestors) won critical acclaim in the West. In the postindependence era, Western films, dubbed in Ukrainian, were increasingly popular. Ukrainian directors, on the other hand, achieved particular recognition in the early 21st century for their work on short films. Among the most accomplished of those directors are Taras Tomenko, Ihor Strembytsky, and Maryna Vroda. The Ukrainian motion picture industry is centred in Kyiv and Odessa.