Ukrainian Folkloric Intonation in Alla Zahaikevych’s Opera ‘Vyshyvanyi’

Abstract

The purpose of this study is to identify vocal and performance techniques as well as musical-expressive elements aimed at embodying folkloric intonation in opera. The opera ‘Vyshyvanyi’ by Alla Zahaikevych serves as an example, though the specifics of its realisation in this work remain insufficiently studied. Research methodology. The study employs the following methods: historical (focused on comparing existing intonational models with the lexicon of ‘Vyshyvanyi’ by A. Zahaikevych), structural-functional (to reveal the role of musical-expressive means), performative (to identify the specifics of performance techniques and their stylistic nature). The scientific novelty. This article is the first to examine the features of folkloric intonation in the score of ‘Vyshyvanyi’. Conclusions. The analysis allows us to conclude that A. Zahaikevych seamlessly integrates Ukrainian folkloric intonation into the broad stylistic spectrum of the opera, enriching it with diverse vocal techniques. The function of folkloric intonation in the opera lies in its generalised portrayal of the Ukrainian people and their distinct ‘voices’ (The Girl, The Man in Black). Its manifestations are realised in the verbal text, vocal style, melody, modal foundation, genre origins, type of development, electronically processed sounds, and instrumental timbres. At the same time, folkloric intonation interacts with other stylistic phenomena, often ‘dissolving’ or blending into the broader 12-tone space.