MUSICAL ART OF THE GALICIAN-VOLHYNIAN PRINCIPALITY OF KINGDOM OF RUS

Abstract

The purpose of the article is to present the results of new research dedicated to the systematization of the discovered facts that better define the multinational musical culture on the territories of Volhynia and Galicia of the princely era. At the same time, the methodology of this study is based on the interpretation of the collected materials, which affirms the hermeneutic approach to the study of the development of contemporary music. The application of the historical and anthropological approach allows not only to replace the historiographic name “Galician-Volhynian Principality” with more truthful historical names of this area but also reinforces one of the reasons for the emergence of music and its development as interconnected links in the systemic process of “creation – performance – perception”. The development of pre-Christian beliefs is shown as one of the foundations of the development of music at that time. This includes the examination of folk art, instrumental culture, church singing and bell-ringing, and the musical life of the princely court and city. The scientific novelty of the article also includes tracking the formation of multinational musical art in this region of medieval Rus, expanding organological information, and defining the components of bell-ringing in a broader way. There were bells of different shapes there, as well as plein-air musical buildings for them – bell towers. The author speculates on the possible shapes of those large church idiophones that were “brought” from Kyiv by order of Prince Danylo. It is proved that different components of musical culture existed in one place, and its iconography is supplemented too. The author notes the emergence of modern versions of musician Mytusa from the chronicles and the unfortunate continuity of the replication of unsubstantiated information about him. Conclusions. New information and necessary clarifications to the previous description of the development of musical culture in this region contribute to a broader outline of its multiethnicity in the principality of Romanovychs, and later the Kingdom of Rus of this dynasty. The Ruthenian/Ukrainian artistic component occupied an important place there. The existence of these state entities created the basis for this component’s consolidation and further development.