Sopilka Repertoire in Ukraine Mid-XX – First Quarter of XXI Century: Features of Development and Functioning

Abstract

The purpose of the article is to investigate the peculiarities of the development and functioning of the sopilka repertoire in Ukraine from the mid-20th to the first quarter of the 21st century. Research Methodology. The study employs analytical, historical, cultural, and systematic methods of scientific analysis, as well as methods of comparative analysis and synthesis, and the method of scientific generalisation. These methods were used to reveal various aspects and determine the peculiarities of the development and functioning of the sopilka repertoire in Ukraine from the mid-20th to the first quarter of the 21st century. The scientific novelty lies in the disclosure of historical, social, and cultural aspects of sopilka art, its development, functioning, and the determination of the peculiarities of the sopilka repertoire in Ukraine from the mid-20th to the first quarter of the 21st century. The theory and practice of performing on the sopilka in the context of Ukrainian musical culture of this period are analysed and highlighted. The peculiarities of regional traditions of sopilka music are revealed, and their influence on the modern sopilka repertoire is disclosed. Promising measures for the preservation, development, and functioning of the sopilka repertoire are outlined. Conclusions. The sopilka repertoire is an important part of the musical culture of Ukraine, reflecting the centuries-old history and modern trends of Ukrainian musical culture from the mid-20th to the first quarter of the 21st century. The unique timbral characteristics of the sopilka, the diversity of folklore sources, regional peculiarities, and the influence of modern professional music create a wide and multifaceted sopilka repertoire. This repertoire preserves the national cultural heritage and opens up new opportunities for the development and functioning of sopilka art in Ukraine from the mid-20th to the first quarter of the 21st century. This process should integrate musicological, folkloristic research, cultural studies, and aesthetic artistic practice, allowing the authenticity of the instrument to be maintained without dissolving its national identity in the context of globalisation processes of our time.