Popularization of M. Fedoriv’s creativity by modern leaders of the music culture diaspora in Canada

Abstract

The purpose of the article is an esthetic and cultural analysis of art by M. Fedoriv in the projection of performing practice the contemporary figures of musical culture in the diaspora. Methodology. To achieve the set objective was used comparative-historical, culturological, axiological theoretical and methodological approaches, also biographical and art history methods of scientific knowledge, which directed on the disclosure of the immanent features of investigated products of the creative activity of the personalities in this scientific research; determining the significance of M. Fedoriv’s in the context of the development of Ukrainian musical culture of the 20th century. The scientific novelty of the work consists in applying cultural products of the music industry (gramophone record, CDs), as elements in the source base of research in methodology comparative analysis performance-conducting interpretation of the musical heritage of the composer in the context into the professional activity of Canadian musicians. Conclusions. M. Fedoriv is a representative of the highly professional musicians from the diaspora, which multi-vector activity is marked by the upturn of the basic form of cultural identification. In order to convey the historical authenticity of the national musical tradition of liturgical singing, he researched and published church-religious tunes of the practice of worship in Ukraine, which stoped the total simplification in the performance of canonical chants in the churches of the diaspora. Reaching our time, the popularization of M. Fedoriv's work was possible thanks to the performance and production work of M. Maksymiv and R. Hurko. Thus, in except to the rotation of the digitized album «Jerusalem Matins» by M. Fedoriv on the air of foreign radio broadcasters: CBC (Canada), BBC Radio 3 (Great Britain), M. Maksimiv succeeded to reissue the CD recording of the Liturgy twice and distribute it on social network platforms. However, the precedent of reviving the process of integrating the composer's heritage into the modern media space is the activity of R. Hurko. However, the precedent of reviving the process of integrating the composer's heritage into the modern media space is the activity of R. Hurko. Under his record label CARO Productions, the artist places the audio content produced by him, the same Liturgy on Youtube, and in the form of a tracklist of a music album on commercial services (Apple Music, Deezer, Spotify). Thus, the planes of the personal activity of M. Maksymov and R. Gurko became an example of representation of dominant features of the nation's cultural genome between different generations of Ukrainians, and M. Fedoriv's work is available to its target audience beyond temporal and any territorial borders.