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DOI: https://doi.org/10.34069/AI/2023.71.11.4
How to Cite:
Antonyuk, V., Kalashnyk, M., Stakhevych, O., Rudenko, O., & Lihus, V. (2023). Ukrainian vocal paradigm of Boleslav
Yavorsky. Amazonia Investiga, 12(71), 54-60. https://doi.org/10.34069/AI/2023.71.11.4
Ukrainian vocal paradigm of Boleslav Yavorsky
Українська вокальна парадигма Болеслава Яворського
Received: September 11, 2023 Accepted: November 10, 2023
Written by:
Valentina Antonyuk1
https://orcid.org/0000-0003-1821-1933
Mariya Kalashnyk2
https://orcid.org/0000-0002-6432-2776
Oleksandr Stakhevych3
https://orcid.org/0000-0002-5195-6753
Oleksandr Rudenko4
https://orcid.org/0000-0002-0368-6445
Valentyn Lihus5
https://orcid.org/0000-0003-2430-0166
Abstract
The paradigmatic approach in the study of vocal
phenomena art offers new approaches and
produces non-traditional standards of scientific
thinking, making significant corrections to the
general scientific picture of the world. This is
precisely what is connected with the growth of
scientific interest in the multidimensional
personality phenomenon of music theorist,
composer, pianist-concertmaster Boleslav
Yavorsky (1877–1942) and his influence on the
formation of the vocal paradigm of music
education in Ukraine.
Historical musicology, exploring different areas
of artistic life, has lost track of an important topic
such as the concertmaster activity of pianists-
composers who traditionally accompanied the
performance of not only their but also other’s
compositions, resulting in the unique creative act
when one author was becoming the interpreter of
other master’s compositions – his predecessor or
contemporary. In the cognition of music history,
such artistic events are of notable significance, as
they reflect not just the performing evolution but
1
Doctor of Cultural Studies, Professor, Head of the Department of Chamber Singing Ukrainian National Tchaikovsky Academy of
Music, Kyiv, Ukraine.
2
Doctor of Arts, Professor, Professor at the Department of Music Art, H.S. Skovoroda Kharkiv National Pedagogical University,
Kharkiv, Ukraine.
3
Teacher at the Department of Choreography and Musical Art, Sumy State Pedagogical University named after A.S. Makarenko,
Sumy, Ukraine.
4
Doctor of Philosophy (PhD), Senior Lecturer at the Department of Choreography and Musical Art, Sumy State Pedagogical
University named after A.S. Makarenko, Sumy, Ukraine.
5
Assistant Professor at the Department of Musical Art of Kyiv National University of Culture and Arts, Kyiv, Ukraine.
Antonyuk, V., Kalashnyk, M., Stakhevych, O., Rudenko, O., Lihus, V. / Volume 12 - Issue 71: 54-60 / November, 2023
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also the process of creative reframing of the
musical material.
The main benefits of Yavorsky’s theory consist
in analyzing the structure of mode formation and
the internal modal organization of musical
composition and musical-historical processes as
well as drawing analogies in the development of
various kinds of arts.
Keywords: Yavorsky's Ukrainian vocal
paradigm, musical education, music-historical
process, paradigmatic approach, synergy.
Introduction
The statement of the problem and its relevance is
to study the experience of outstanding masters,
our teachers, who worked on the creation of a
vocal paradigm of higher musical education.
Among them is Ivan Kotliarevsky (Kotliarevsky,
1937), an outstanding theoretician-musicologist,
professor, doctor of art history, vice-rector for
science and head of the Department of Music
Theory of the Kyiv State Conservatory in 1984–
1995. At the time, he advised to turn to the works
of Boleslav Yavorsky (Yavorsky, 2008), which
reveal bold results in the field of synergy.
Boleslav Yavorsky (born in 1877 in Kharkiv,
died in 1942 in Saratov), Doctor of Art, pianist,
composer, teacher, musical and public figure. In
1894–1898, he was a student of the Kyiv Music
School. In 1916-1921 he was a professor at the
Kyiv Conservatory, from 1917 he was the
founder and first director of the People's
Conservatory; from 1918, he was a professor at
the Mykola Lysenko Music and Drama Institute.
Boleslav Yavorsky is the author of the operas
"Pelléas and Mélisande", "October Tower";
ballet "Jane Valmore"; orchestral piece, piano
works, more than 30 romances, as well as several
solo opus and choral arrangements of Ukrainian
folk songs.
Note that the relevance of synergetic was obvious
for Kotliarevsky at the turn of the XX–XXI
centuries. Kotliarevsky boldly encouraged the
creation and study of a new synergistic model of
creators and researchers of the boundless world
of musical art. One of the dominant features of
this new and synergistic stage of vocal education
is interdisciplinarity and further implementation
of the principle of evolutionism. This is precisely
what is related to the growth of scientific interest
in the multidimensional phenomenon of the
personality of Yavorsky (doctor of art history,
pianist, and accompanist of vocalists, composer,
teacher, music and social activist, one of the first
professors of the Kyiv Conservatory) and his
influence on the further Ukrainian vocal
paradigms development of music education.
This study aims to determine the influence of
Yavorsky' performing, pedagogical and
scientific work on the vocal paradigm
development of higher musical education of
Ukraine.
The main task of the study is to find and fulfill
with content the lacunae of vocal content in the
creative and scientific heritage of this
outstanding Ukrainian musician, the author of the
concept of the eponymous "Yavorsky’s theory".
Literature Review
Note that Yavorsky tracts the attention of
researchers, who focused mostly on the
biographical and theoretical achievements of the
artist (Antonyuk, 2001; Antonyukn, 2015;
Antonyuk, 2021; Коmenda, 2020; Kuzomina,
2003). The foundations of Yavorsky's theory
were developed in the early years of the XXth
century, and its most used name "concept of lad"
was introduced in 1912, but from 1908 the
concept had the name: "the structure of musical
language", and from 1918 "the theory of auditory
gravitation". Yavorsky's research work lasted
almost half a century and covered all areas of
musicology: theoretical harmony, music history,
musical aesthetics, and sociology. According to
the theory of musical thinking developed by him,
the content of musical art, the basis of its
influence on a person is the presence of mental
and psychological principles as a reflection of the
scheme of the social process of the corresponding
era (Yavorsky, 2008).
By combining the laws of musical thinking with
the phenomena of the historical, general cultural,
aesthetic order, the scientist sought to
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comprehend the holistic perception of not only
the musical work itself, but also the conditions of
its existence. The main merits of Yavorsky's
theory include the analysis of the structure of
patterns, the internal pattern organization of
musical work and the musical-historical process,
as well as in making analogies in the
development of various types of art. This context
was hidden from the eyes of his contemporaries
and appreciated only a decade later.
The scientific fate of Yavorsky was complex and
dramatic, mainly due to his constant occupation
with the duties of a civil servant responsible for
the formation of a new educational paradigm in
the USSR, and he managed to publicize only a
small part of his legacy, namely: "The structure
of musical speech" (parts 1–3, 1908), "Exercises
in the formation of melodic rhythm" (part 1,
1915), "Structure of melody" (1929) (Yavorsky,
2008). The most important results were recorded
in his oral lecturing, teaching and epistolary
activities (his correspondence with composers
contained meaningful educational tasks and was
in fact an extramural consultation), a few articles
and teaching aids, manuscripts (the archive of
Yavorsky is kept in the funds of the Hlinka
museum) and is mostly reflected in the studies of
his students and followers. He influenced the
creativity of Asafiev B., Bagadurov V.,
Blumenfeld F., Braudo I., Glier R. (who has
friendly and professional relations with
Yavorsky from 1892 to 1942), Gnesin M.,
Zernov D., Konen V., Kulakovsky L., Kurt E.,
Mesian O., Miaskovsky M. (their professional
correspondence lasted for 27 years), Neihaus G.,
Protopopov C., Shostakovich D., Yudina M., as
well as music theorists and composers of the
following generations: Goriukhina N.,
Zaderatsky V., Zolochevsky V., Kotliarevsky I.,.
Korykhalova N, Liashenko G., Maslenkova L.,
Medushevsky V., Moskalenko V., Nazaikinsky
E., Orlova O., Protopopov V., Piaskovskyi I.,
Skoryk M., Sokol O., Kholopov Yu., etc.
(Yavorsky, 2008).
Note that the basics of Yavorsky's theory, in
particular, his ethnological results, were used in
the construction of the concept of the education
of a solo singer regarding the significance of the
"energy of musical formation" for the harmonic
nature of musical art (Antonyuk, 2001). His
works such as "Psychological study-
characteristics of the behavior and facial
expressions of a singer under moral oppression
and under energetic passion" (1901), "About a
folk song" (1917), "Breathing" (1924), "Singing
and singers" (1932) , "Chamber Singing" (1935)
recorded the main principles of works as a
pianist-concertmaster of vocalists (1895–1898)
in the professor's of the Kyiv Music School
Kamillo Everardi and developed in the process of
independent performing practice (Yavorsky,
2008).
Note that Yavorsky, along with the following
terms introduced into musicology: "intonation",
"internal auditory tuning", "rhythmic edge",
"synergy", "comparison of tonalities", "theory of
musical thinking", etc., also invented the
classification of singing styles into "chamber-
miniature", "chamber-stand", "fresco-concert"
and "opera-decorative" (Yavorsky, 2008).
B. Yavorskyi's productive activity as a
concertmaster with Ukrainian singers became an
important basis for his scientific results, defining
the vocal paradigm as dominant in the artist's
compositional and performing work.
First, the name of Yavorsky is associated with the
concept of lad (the term means the unfolding of
the chord in time), which had a great influence on
the further development of musicology: "this is
what the conservatory calls the science of
"musical thinking", which I am working on"
(Yavorsky, 2008). The law of auditory
gravitation discovered by Yavorsky became the
basis of his hypothesis, which later grew into a
theory of musical thinking with its features in
relation to different eras. Starting with the study
of "biological foundations of behavior – from the
energy of its types and connections, he took the
principles of studying the role of the joint action
of auditory and visual world perception as one of
the starting points of his theory long before the
discovery of analyzers by physiologists and the
formation of the science of "musical
psychology"" (Antonyuk, 2021). Yavorsky's
restoration of the hidden content of Bach's
masterpiece – 48 preludes and fugues "HTK",
which actually turned out to be a musical
interpretation of the images of the Old and New
Testaments, their predictions and prophecies, the
Life of Christ, etc., was also sensational.
Methodology
The research methodology is rooted in the
theoretical framework of national artistic culture,
encompassing various dimensions such as the
systematic approach to understanding culture-
creating professional and pedagogical
phenomena, phenomenological aspects of
creativity theory, epistemology of culture,
structural typology, personality theory, and
migration theory. This comprehensive approach
forms the methodological foundation for the
study, offering a robust framework for
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investigating linguistic and cultural phenomena
in vocal art.
The paradigmatic approach employed in this
research introduces innovative perspectives and
challenges traditional standards of scientific
thinking. Within the study of linguistic and
cultural phenomena of vocal art, this
paradigmatic approach reshapes the scientific
worldview by introducing new models for posing
problems and their solutions. Over time, these
models become recognized as scientific
achievements, influencing methods, problem
situations, and standards for their resolution
during the evolution of scientific knowledge.
In the context of ethnocultural discourse,
paradigmaticity serves as the methodological
cornerstone, particularly evident in the linguistic
and cultural specificity of vocal art. This
approach goes beyond conventional
methodologies, providing a deeper
understanding of the intricate interplay between
culture and language within the realm of vocal
artistic expression. The methodological section
details the sources, review processes, and
analysis techniques employed, ensuring a
thorough and rigorous evaluation of these diverse
theoretical perspectives.
The theoretical base for our study was research
works of national and international researches
(Aranovsky, 2012; Champigny, 2006; McQuere,
1983; Slonimsky, 1978) and the works by
Boleslav Yavorsky (1908; 1913; 1915; 1923;
1925; 1929; 1972; 2008).
Results and Discussion
Historical musicology, researching various
spheres of artistic life, has overlooked such an
important topic as the concertmaster activity of
pianist-composers, who traditionally
accompanied the performance of not only their
own, but also other people's works, resulting in a
unique creative act, when one author became an
interpreter of the works of another master, his
predecessor or contemporary. For learning the
history of music, such artistic events are of
unique importance, as they reflect not just
performance evolution, but also the process of
creative (composer's) reinterpretation of musical
material. Yavorsky, apart from his scientific,
pedagogical, composer, solo pianist and music-
organizational activities, was widely known
precisely as the concertmaster of vocalists, who
demanded from them "hard work on combining
the musical image with the verbal one... To
achieve this goal, Yavorsky offered many
technical exercises for clear and expressive work
on the verbal text," recalled People's Artist of the
USSR K. Derzhynska (Moskalets, 2005). Telling
about Yavorsky's work with vocalists on the
image, O. Butomo-Nazvanova noted his
"inexhaustible well of knowledge, interests,
versatile coverage of life, erudition in the field of
art, exceptional gift ... creativity of life", and,
although he himself never sang and did not
possess the specific complex described by M.
Deisha-Zionytska in the work "Singing in
Feelings" (1926), his "versatile giftedness,
attention, desire to always penetrate the essence
of the study phenomenon sometimes gave him an
advantage over specialists in this area as well."
(Yavorsky, 2008).
Yavorsky developed and used a unique set of
analytical methods in his work with vocalists,
aimed at reproducing the artistic images of each
performed work, in accordance with the genre,
style, and composer's intention. Yavorsky
demanded special attention from the singers to
the plastic arts, asked them to move to the rhythm
of vocal music, looking for plasticity and the
convenience of melody in plastic movements of
the body (the methods of synthesizing stage
language of Les Kurbas and the eurythmy of the
dancer by Isadora Duncan were in common). He
developed in the vocalists the skills of "logical
analysis and learning the text by heart ... reading
the text with conducting (unaccompanied), after
which it was possible to move on to the
performance of the melody (music and verbal
text) with conducting, and only then – to singing
romance with accompaniment piano" (Yavorsky,
2008).
Having trained as a concertmaster in Kyiv, under
the guidance of the famous maestro Everardi K.,
Yavorsky never stopped working with Ukrainian
singers. In the various periods of his life, he
prepared detailed concert programs with
Oleksiy Askochensky, Maria Baratova,
Olga Blagovydova, Oleksandr Bogdanovych,
Olga Butomo-Nazvanova, Lyudmila Vasnetsova,
Olena Geitsig, Olympiada Horoshchenko,
Ksenia Derzhynska, Maria Deysha-Zionytska,
Lidia Zviagina, Nina Koshyts, Volodymyr Losky,
Olga Okuneva, Nazar Raisky,
Yevgenia Romanova, Serafima Senytsyna,
Mykola Filimonov, Olena Hriennikova,
Maria Tsybuschenko, Tamara Sheneikh,
Oleksandra Shperling, Anna Yan-Ruban, and
others (Yavorsky, 2008). In 1907–1911, with the
M. Deisha-Sionytska, Yavorsky organized 15 free
evenings: "Musical Exhibitions," which occurred in
the hall of the Moscow Synodal College. Some of
them were entirely devoted to chamber works by
contemporary authors, including his romantic
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music. In 1928, he held a cycle of concerts with
O. Butomo-Nazvanova, performing also as a
pianist-concertmaster and lecturer.
Having accepted the proposal of the director of
the Kyiv Conservatory, R. Glier, Yavorsky has
been working here as a professor at the piano and
composition department since September 1916.
Despite his considerable teaching load (he taught
39 pianists and 12 composers), he continues to
actively perform as a pianist and concertmaster
in Kyiv and Moscow. Concerts occur almost
every day, the program includes classical and
newly written works: by himself and fellow
composers. Conducts numerous master classes –
creative meetings of his students with
outstanding musicians and composers
F. Blumenfeld, F. Hartman, O. Glazunov,
R. Glier, M. Gnesin, H. Neuhaus, S. Prokofiev,
and others (Yavorsky, 2008).
In the fall of 1917, Yavorsky created a plan for
the future musicological faculty of the Kyiv
Conservatory, which included such disciplines as
philosophy, aesthetics, art, and musical styles. A
separate aspect of his activity was musical
education aimed at young people and children:
this work was carried out in the People's
Conservatory, founded by him in 1917 in Kyiv
under the Society of People's Theater and Arts,
of which he was the first director. In 1918, at the
invitation of F. Blumenfeld, Yavorsky worked as
a professor of music theory at the Kyiv
Secondary
Specialized Music Boarding School named
after M. V. Lysenko, and in 1920 he taught
"Introduction to the science of music", "History
of music", "Fundamentals teaching about modal
rhythm" to musicology students at Kyiv
University.
Note that the musical life of St. Volodymyr Kyiv
University since its foundation in 1834 had two
levels: educational and professional and amateur,
and Yavorsky himself, being a student of the
mathematics faculty of this university in 1897–
1898, attended lectures here on history and
theory of music, which was soon transferred to
the Kyiv Conservatory largely thanks to his
organizational efforts. Yavorsky stood at the
origins of the reorganization of the Kyiv
Conservatory and the Music and Drama Institute
into a new educational institution, took a direct
part in the formation of a new musical and
educational paradigm, contributed to the
development of curricula for theorists and
historians of music, who at that time were not yet
taught at the Kyiv Conservatory.
Working in Kyiv during the bright and tragic four
years of Ukrainian statehood (1918 – 1922),
Yavorsky not only performed a lot as a pianist,
ensemble player and accompanist for vocalists
but also conducted seminars and lectures, wrote
scientific articles in which his future theory of
musical thinking crystallized. The result of
powerful work at the end of the 1919–1920
academic years was a memorandum of Kyiv
scientists, where Yavorsky was recommended to
the Ukrainian Academy of Sciences with a
request to be awarded the title of academician.
Yavorsky did not stand aside from the political
life of Ukraine, and at the beginning of 1921 he
joined the Committee in memory of his student
M. Leontovych – Ukrainian composer, choir
conductor, public figure, teacher, author of
arrangements of Ukrainian folk songs for the
choir "Dudaryk", "Cossack carry", "Shchedryk"
(known worldwide as the Christmas carol "Carol
of the Bells"). Student of B. Yavorsky, author of
a practical course of teaching singing, the
methodological concept of which consists in the
development and education of tonal hearing and
thinking, considers the attention to the conscious
pitch representation on specific melodic
examples (Kuzyk, 1996). Soon almost all
members of this organization were repressed.
Yavorsky survived, only thanks to the forced
urgent departure of the People's Commissar of
Education. He never returned to Ukraine,
working in 1921–1930 in the People's
Commissariat as the head of the music
department of the Main Directorate of
Vocational Education of the USSR.
Under his leadership, the idea of continuous
musical education was put into practice, namely,
the establishment of its three levels: lower (music
school), secondary (music technical school) and
higher (conservatory) and a unified curriculum
was created. Simultaneously, he continued his
teaching activities, was in charge of the
educational department at the First State Music
College, gave brilliant scientific lectures, in
particular, at the conservatories of Kyiv, etc.,
where he conducted permanent seminars (the
most notable ones being "Bach’s" and "History
of Performance Styles").
During 1921–1931, Yavorsky was an active
member (academician) of the State Academy of
Arts. But his ties with Ukraine were not
interrupted. On February 5, 1930, an All-Union
scientific conference dedicated to the theory of
harmonic rhythm was held. Among the numerous
speakers were students of Yavorsky from the
Kyiv Conservatory: H. Veryovka (with a report
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"On musical work based on modal rhythm in
Ukraine"), N. Goldenberg, S. Protopopov,
I. Rabynovych. After the debate, Yavorsky
answered questions for five hours. However,
Yavorsky's theory was soon recognized as "non-
Marxist," and some weak-minded students
betrayed him. The tolls of the artist began.
Excluded from the educational process, since
1932 he worked as a senior editor of the state
music publishing house ("Muzgiz"), and only in
the fall of 1938 he received an invitation from the
Moscow Conservatory to teach the author's
course "History of Performing Styles" to
graduate students of all faculties, as well as to
implement creative projects. One of them was the
student production of S. Taneev's opera
"Orestea", performed by Yavorsky together with
A. Dolivo at the department of chamber singing
in 1939. The pianist M. Yudina recalls it as
follows: "The participation of Boleslav
Leopoldovych in the creation of Taneev's
production of Orestea was also very vividly
expressed in the lecture he gave (for all teaching
staff and students) about Taneev, his work and
his meetings with the great composer. The
impression was strong, notes were written,
questions were asked, as always, around
Yavorsky "life abounds" ... As in all his
successful and inspired statements, Boleslav
Leopoldovych managed to find the Eternal in the
fleeting, to unite the distant and the opposite,
finding the main core of the tragic conflict"
(Yavorsky, 2008).
At the beginning of 1941, Yavorsky was awarded
the scientific degree of doctor of art history
(based on a collection of works and without a
thesis defense). And the very next year, he died
suddenly while working at his desk. His last
addressee was D. Shostakovich (correspondence
with whom began in 1925), who shortly before
that helped Professor Yavorsky improve living
conditions in Saratov, where he was evacuated.
A special mention should be made of the
diplomatic mission of Yavorsky, whom the
USSR government repeatedly sent to Italy,
Germany, France, and England to study the state
of music education, organize tours, and to
establish relations with outstanding musicians-
emigrants from the USSR, in particular S.
Prokofiev, who in 1936 returned to his homeland.
In 1926, Yavorsky promoted the performances of
a native of Kyiv, soloists of the Bolshoi Theater
K. Derzhynska in Germany, where he toured
together with O. Butomo-Nazvanova.
Simultaneously, during a one-and-a-half-month
business trip to Germany, Austria, and France
("to get acquainted with the staging of the
musical-educational business"), Yavorsky
visited the Ukrainian singer N. Koshyts, whom
he had previously accompanied in Kyiv, and here
– in her Paris salon, he met with one more of their
compatriots, – V. Horovyts (Yavorsky, 2008;
Leontovych, 1989).
As we can see, the dimensions of the personality
of the outstanding musician and theoretician,
professor, doctor of art history Yavorsky impress
with their harmonious combination and perfect
development of each of his talents. He invented
his own theory in musicology; carried out a
structural and semiotic description of the creative
process; wrote and performed his own and other
people's music; taught and reorganized the
educational process; researched musical terms
and introduced new ones; translated significant
musical and theoretical works and poetry from
German, French, Polish into Russian and vice
versa and even created ballet librettos.
Contemporaries unanimously noted the
"demonic" tirelessness of Yavorsky, his ability to
unyieldingly lead the interlocutor along the
course of his thoughts and, as it were, program
him for further creative activity, outlining its
stages and immediate goals.
The focus of the article is on such an
understudied aspect of Yavorsky's activity as the
work as a concertmaster of vocalists. It is quite
possible that in the case of studying his vague
ensemble and solo pianistic activity, the specific
weight of the coverage of the instrumental sphere
of the performing amplitude of this artist would
be higher. However, the topic of research into
aspects of Yavorsky's personality was
deliberately limited to his accompaniment of
vocalists, as a special phenomenon of musical
performance. Such vocal "hegemony" is
extrapolated to the attention that composers paid
to vocal genres, which inevitably contributed to
the fact that it was vocal music that occupied too
important a place in their work, and therefore in
accompanying activities (as an example of eidos
vocality of in composer's creativity) (Antonyuk,
2001). Yavorsky was no exception, whose active
concertmaster practice with vocalists became an
integral part of the pianist's solo performance,
and indirectly influenced the formation of new
concert forms and means of artistic expression.
Finally, we should note that Yavorsky also
possessed bright talent as a manager of musical
art, which he fully embodied in various positions.
It is interesting that he himself never
differentiated his multi-faceted activity, which
once again proves the synergistic model of the
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personality of an artist, which ideally
accumulates in himself different sides of the
general musical-historical process.
Conclusions
The paradigmatic approach used by us in the
study of vocal art updates the standards of
scientific thinking, making significant
corrections to the general scientific picture of the
world. The synergistic direction of scientific
research, within the framework of which the
general regularities of the transition from chaos
to order and back (processes of self-organization
and spontaneous disorganization) are studied, is
an interdisciplinary phenomenon.
Comprehensive further understanding of the
presented multidimensional personality
phenomenon of Yavorsky (doctor of art history,
pianist, accompanist for vocalists, composer,
teacher, music and public figure, one of the first
professors of the Kyiv Conservatory) and
determining its influence on the further
formation of the Ukrainian vocal paradigm of
music education is especially growing in our
time, when the theory of synergetic as self-
organization offers an original understanding of
the world and its ways out of the crisis of
scientific rationality. The paradigmatic research
standards proposed by us outline the contours of
the postmodern image of scientific thinking and
make significant corrections to the general
scientific picture of the world.
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