Heterorhythm in Shchedrivky of Western Podillia

Abstract

Purpose of the study. The publication is devoted to the analysis of heterorhythm in shchedrivky (New Year’s carols) of Western Podillia, which emerged under the influence of the Christianisation of songs belonging to the winter calendar ritual cycle. The methodology is based on a historical approach to the formation and development of heterorhythmic forms of shchedrivky in Western Podillia, which were shaped under the influence of modern sociocultural processes (Christianised forms within the songs of this genre). The study employs the following methods: the method of analysis – enables the identification of unevenly structured stanzas within evenly structured rhythmic forms of shchedrivky and clarifies the causes and mechanisms of their formation and development; the chronological method – allows for examining the history of the formation of heterorhythmic forms of shchedrivky in Western Podillia and the influence of modern principles of structuring songs of this genre; the comparative method – synthesises isorhythmic and heterorhythmic forms of shchedrivky in Western Podillia into a unified structural system. Scientific novelty. For the first time, the study draws attention to and analyses heterorhythmic elements in the shchedrivky of Western Podillia, which were shaped under the influence of Baroque Christian medieval poetry. The research reveals ways in which, within folk-musical forms, the transition occurred from compound sentences to complex ones. This process reflects the transformation in winter calendar ritual songs from isorhythmic structural patterns to heterorhythmic ones. The latter, in turn, transformed the musical form of the shchedrivky at the level of musical syntax. Conclusions. It has been established that the heterorhythmic forms of shchedrivky from Western Podillia expanded the spectrum of winter calendar ritual songs and brought them closer to the structural patterns of later folklore forms. It was found that traditional folk shchedrivka plots acquired Christian content through the substitution of traditional folk characters with Christian ones. This process demonstrates the adaptation of ancient forms into new heterorhythmic structures.