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|Title:||Максим Копко в історії музичної культури Галичини|
|Other Titles:||Максим Копко в истории музыкальной культуры Галичины|
MAXYM KOPKO IN THE HISTORY OF MUSICAL CULTURE OF GALICIA
|Bibliographic description (Ukraine):||Мацієвська Т. Максим Копко в історії музичної культури Галичини // Наукові записки Тернопільського національного педагогічного університету імені В. Гнатюка. Сер. Мистецтвознавство. Тернопіль : ТНПУ, 2019. Вип. 1(40). С. 70–78|
|Publisher:||Тернопільський національний педагогічний університет імені Володимира Гнатюка|
form of works
|Abstract:||У статті подано комплексний творчий портрет М. Копка. Розглянуто його священиче служіння, громадську роботу (участь у товариствах, видавничу діяльність, заходи з організації музичного просвітянства). При панорамному розгляді композиторської діяльності висвітлено жанрово-стильові особливості творчості та створення музично-теоретичного підручника.|
В статье подано комплексный творческий портрет М. Копка. Рассматривается его священическое служение, общественная работа (участие в обществах, издательская деятельность, средства для организации музыкального просвещения). При панорамном рассмотрении композиторской деятельности освещены жанрово-стилистические особенности творчества и создания музыкально-теоретического учебника.
The article is a complex, creative portrait of Maxym Kopko. It consists of his priest’s ministry and public work by participating in the fellowship, publishing activities, and organizing progressive movements of musical education. Considering the panoramic activity of this composer’s musical commitment, the featured genre’s and style of art is highlighted within his music theory textbooks. Maxym Kopko’s activism, at the end of the 19th – beginning of the 20th century, was an important stage in the fight for launching the musical culture of Ukraine. Maxym Kopko was a talented composer, and choral conductor. He was an energetic organizer of musical life, an editor, researcher of spiritual music, singer, theorist, and a tireless propagandist of Ukrainian folks songs, tying in compositions of different Ukrainian composers. All this speaks about Kopko’s commitment, and characterizes him as a versatile leader of the 19th century. M. Kopko formed social actives where he vividly manifested himself with personality. Showed great organizational skills where he was the initiator and founder of many socio-cultural societies (“Vira,” “Ruthian Institute for Girls,” “Zoria.”) Besides this, he participated in other societies, like the theatre department at the Ruthenian Besida society “Prosvita.” As a representative of priesthood in a cantor’s society, (created in 1892 in Peremyshl). M. Kopko made efforts to increase the funds to improve the cantor’s life while creating commission for attestation and issuance of certificates to the society. Kopko’s work in the, “Prosvita,” association is significant, because as an educator, he continuously performed concerts with the choir “Peremyskiy Boyan,” whereby acquainting Galicia with native folk songs (pieces of Shevchenko’s poems and declamation of his works were performed). In 1894, father Maxym Kopko and Dr. Theofiel Kormosh established a first credit cooperative which was named – “Association of Mutual Credit Vira”. This organization not only helped Ukrainian’s build neighborhoods and buy land, but also develop cultural and economical institutions. All schools, congregations, holidays and meetings were held in socio-political economical schools that provided the Ukrainian people to be highly skilled and disciplined citizens. The work of father Kopko in the Ruthenian Institute for Young Women is noteworthy because in the 1880’s, the Ukrainian public reapplied the needs in education not only for boys but also for girls. Kopko was a member of “Bursa for the girls of Ruthenian Catholic Ritual”, in Peremyshl, where he initiated the construction for this university. Father Kopko was an erudite pedagogue, he performed his priest’s duties throughly, and because of him there was always a positive atmosphere of religious diligence and patriotism in the Institute. Kopko’s work in, “Ruska Besida,” is also very interesting, because in the course of his activities, f. Kopko worked with the local theatre and wrote musical theatrical pieces to the text of Lutsyk (Roman Surmach), “Vyfleyemska Night,” (1900), “Vyvorozhyla,” (1901), “Don’t joke with the heart,” (1901), “Perehytryla,” (1901) and many others. Under Kopko’s direction of “Peremyskiy Boyan,” he often performed concerts in the, “Ruska Besida” fellowship. His dedicated works proved the value of this institution in a spiritual calling for the nation. The “Zorya,” fellowship was established by Kopko in 1899 in Peremyshl. The main task of this fellowship was familiarization listeners with works of Ukrainian composers, by using Ukrainian folk songs for raising the musical culture on a higher level. In the fellowship f. Kopko formed choirs and workshops under the name of “Home Theatre,” which was continuously performed by the plays of f. Kopko. With the evolution of musical culture of Galicia, Kopko’s activity manifested in transition from an amateur composer to creatively develop a further professional basis. As evidence of this creation of choral society, “Peremys’kiy Boyan,” carried out big concert activities. The annually society gave several concerts, for example, it was mandatory to perform at Shevchenko’s anniversary and in July on holiday of “Ivan”. “Peremys’kiy Boyan,” played a vital role of conception in the Ukrainian music culture which lifting it on a higher professional level. In 1899 the thought to unite all music societies in the “Musical Union”, arose amongst the Galician society of singers and musicians. That is why Kopko and other composers like, Matiuk and Shuhevych, created a committee for organizing a musical congress. This congress would manage the music life in the area, (establishing music schools, declaring composer’s works). Sadly, the congress never held any meetings, but it’s ideas were recognized in the “Union of singing and music societies,” and in the Higher Institute. Kopko’s activity is considerable and polyhedral in a cultural and historical aspect of the second half of the 19th century. In his work’s – supporting public priest’s and promoting musical education, he is honored for establishing a sense national music.
|Appears in Collections:||Наукові записки Тернопільського національного педагогічного університету ім. В. Гнатюка. Сер. Мистецтвознавство. 2019. № 1|
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