PARALITURGICAL WORKS AS A SACRED-AESTHETIC ELEMENT OF UKRAINIAN MUSICAL CULTURE

: The purpose of the section is to clarify the place of Ukrainian diaspora composers’ paraliturgical works of the XXth century and, in particular, the works of Mykhailo Hayvoronsky (1892–1949) in the spiritual musical culture of Ukrainians. Paraliturgical works include spiritual songs and chants performed outside the church’s Christian canonical rite. In the works of composers it is: a series of chants from Pochaiv’s «Bogohlasnyk», arrangements of koliadkas, songs of the Virgin and Resurrection, prayers to the King of Heaven, communions. Paraliturgical music of diaspora composers testifies to a strong connection with traditions: here we have the influence of «part-song», and the achievement of the «golden age» of Ukrainian music, and creative achievements in this genre of older contemporaries – M. Lysenko, M. Leontovych, K. Stetsenko. On the other hand, there is a close connection of this music with folklore sources, first of all, in the field of melody, texture, principles of musical material development. The sacral-aesthetic element of M. Hayvoronsky’s spiritual music is expressed by the figurative content of these works (bright, contemplative mood, sorrowful-focused prayer spirit, joyful exaltation, mood spirit), aesthetic categories (sublime, beauty, harmony, aesthetic ideal). Due to its genre and stylistic features, the paraliturgical music of diaspora composers became an integral part of the national school of composers development and contributed to the establishment of its identity.

the highest authority of the church (Ecumenical Council, Synod, Pope, Patriarch) as a mandatory and unchangeable component of the rite» 8 . The core of worship in the Eastern Church is the liturgy. That is why canonical music is also called liturgical. «Non-canonical cult music is songs and instrumental parts that are part of worship, along with canonical components. But they are not approved by church statutes and hierarchs as obligatory and sacred elements of worship» 9 . They are also called paraliturgical.
As for the paraliturgical music, which is unambiguously intended to be performed outside the obligatory church rite, its performance in the church gives it sacred features, outside it -spiritual ones. Paraliturgical works include spiritual songs (Christmas (carols), Basilian songs, theotokos, etc.) and spiritual chants, which are performed outside the church Christian canonical rite, i. e. «after services (as an exception, they were sometimes added to them), during processions, Christmas carols ˂… ˃ in everyday life» 10 , although in Western Ukrainian Greek Catholic liturgical practice, spiritual songs were and are used today.
Researcher of Ukrainian spiritual song Yuriy Medvedyk believes that it is possible to use both terms in parallel -«spiritual song» (monophonic or polyphonic) and «spiritual chant» (usually three-voiced) 11 . Olga Zosim, considering the spiritual song in the genre system of sacred music, addresses the issue of terminology and concludes that this genre «… throughout the history of Christian music has been interpreted in different ways. The New Testament mentions the genre triad «psalm -hymns -spiritual songs» twice, but there are no genre features of spiritual song. ˂…˃ In the late Middle Ages in Western Europe, the genre of spiritual song underwent a transformation. The term «song» («cantio») came to denote musical and poetic works of strophic form, written in Latin and later in national languages, which performed a paraliturgical function. ˂… ˃ In the Ukrainian-Belarusian lands under the influence of Western liturgical tradition the term «song» as a poetic work of strophic form became the basis for defining the genre in all Christian denominations» 12 . 8 Ibid, p. 335. 9 Ibid, p. 336. 10 11 Ibid, p. 10. 12 Zosim O. L. (2019) Dukhovna pisnja v zhanrovij systemi sakraljnoji muzyky: Pytannja terminologhiji [Spiritual song in the genre system of sacred music: Issues of terminology]. Visnyk Nacionaljnoji akademiji kerivnykh kadriv kuljtury i mystectv, no. 2,p. 299. (in Ukrainian) The basic works for the analysis of paraliturgical art of diaspora composers are the study of the Ukrainian music history by M. Hrinchenko, where it is emphasized that the songs from «Bohoglasnyk» «connected specific church music with secular and were the transitional form of musical piece that reflected music influences of folk religious views, being out-of-church» 13 ; Yuri Medvedyk, in which the scientist researches the processes of formation and development of Ukrainian spiritual song of the XVII-XVIII c. 14 , Oleksandra Hnatyuk from Warsaw on the genre properties of Ukrainian spiritual baroque song 15 and Olga Zosim on Western European spiritual song in the East Slavic lands in the XVII-XVIII c. 16 . O. Hnatyuk's monograph is a thorough interdisciplinary investigation, in which attempts are made to comprehend the spiritual song in the theological and philosophical sense. The key problem in the study of Ukrainian paraliturgical culture is the question of its connections with folklore. An important methodological significance in this aspect is the opinion of the prominent Ukrainian folklorist Filareta Kolessa that works of book origin, in particular carols from «Bohoglasnyk», cannot be unconditionally included in folk songs 17 . Y. Medvedyk emphasizes that «…Bogoglasnyk Christmas songs are the product of individual, author's creativity, which, in the end, is «certified» by acroverses, which directly indicate the manifestation of the personal factor» 18 .
Mstislav Yurchenko in the early 1990s, researching the history of Ukrainian sacred music, became interested in choral chants 19 . Not so long ago, the musicologist purposefully returned to this issue and emphasizes: «Choral arrangements of religious chants have a dual function. On the one hand, they are choral works of mostly medium form, and thus constitute an element of 13  These works not only promoted the national spiritual song, but also served as an ethno-preserving factor. The leading genre in this field was chant, and therefore L. Pyatenko's dissertation on its features in the context of world culture contains methodological aspects for our research 22 . The widespread and popular genre of Christmas songs' choral arrangement, in particular kolyadky and shchedrivky, deserves a comprehensive scientific assessment. Bohdan Shkilnyk, analyzing the current state of scientific research of Ukrainian scientists on this genre, draws attention to humanistic, philosophical, moral and aesthetic aspects 23 .
The most numerous, multi-genre and significant is the paraliturgical work of the outstanding conductor and composer Oleksandr Koshyts (1875Koshyts ( -1944, as sacred music belonged to spheres especially close to him. The son of a priest, a graduate of the Kyiv Theological Academy, Candidate of Theology, regent who «resurrected» the music of Artemy Wedel, -O. Koshyts in the early XXth century introduced the idea of «style concerts» of choral music, based on the promotion of one genre in one program. Concentrating on the performance of kolyadkas, shchedrivkas and chants of the XVI-XVIIth centuries, the conductor especially appreciated the chants for their originality and as a genotype of church art on 20  O. Koshyts' spiritual music, which belonged to the «new school» of Ukrainian church music (according to O. Kozarenko), was characterized by «exquisite simplicity, general enlightenment of color, ˂… ˃ deeply personal (even intimate) nature of God's perception, which became a manifestation of traditional mental guidelines» 28 . According to O. Kozarenko, he introduced intonation resources of the ancient monody into the national musical dictionary. In general, O. Koshyts' work outlined a new way of accumulating ancient traditions of sacred art and today is unique in its depth and scale of the artistic experiment -the adaptation of the monodic technique of significant singing in choral polyphony. The composer's textural and formative search «became the first -truly unstylish in essence -attempt to voice an authentic national cult tradition rooted in the genetics of specific Lavra and folk group performance» 29 .
The outstanding conductor, bandura player and composer Hrygory Kytasty (1907Kytasty ( -1984 repeatedly turned to the chant genre. He firstly wrote the original work «Oy na gori, na gori» for solo (soprano and bass) and unaccompanied mixed choir (Detroit, 1954), which was published and recorded in Ukraine in 24 Koshyts O. (1998) Lysty do drugha  [Folias are to the friend]. Kyjiv, p. 26. (in Ukrainian) 25 28 Kozarenko O. (2000) Fenomen ukrajinsjkoji nacionaljnoji muzychnoji movy [The phenomenon of Ukrainian national musical language]. Ljviv: NTSh, p. 123. (in Ukrainian) 29 30 . Chant has a three-part form, a transparent compact choral texture. The main theme is concentrated in the parts of the soloists, and the choir in the first case serves as a tonal and harmonious background for them, maintaining the organ point, in the second -echoes the main motive, echoing in pauses or acting as a link between episodes. In 1988, on the occasion of the millennium of the Christianization of Rus-Ukraine in the United States, a collection of chants for bandura was published, which included arrangements by Н. Kytasty «Strashnyi Sud», «Potop» and «Syritka» for bandura chapel (homogeneous or mixed composition) 31 . V. Dutchak notes that «the author used the already known arrangements of chants by P. Demutsky, M. Leontovych, J. Yatsynevych, leaving the choral score unchanged, adding only the accompaniment of banduras. However, in each case, Kytasty creatively elaborates the choral score, aiming to preserve the features of the chant genre, its traditional sound accompanied by a lyre or kobza-bandura. He not only adds sound for the choir, but also composes instrumental introduction (as in the edging «Strashnyi Sud», «Syritka»), overplays (as, for example, in the edging «Strashnyi Sud», «Syritka»). In the edging «Syritka» H. Kytasty instructs the soloist to perform individual verses and, accordingly, creates two options for accompaniment (for solo and choral performance)» 32 .
It should be noted that the activity of the Basilians (monks of the Basilian Order), the mainstay of the Greek Catholic Church, was rich in the development of Ukrainian spiritual song. Iryna Matiychyn wrote: «...the monks of this order worked out and published a significant spiritual song repertoire, systematizing it in the song anthology "Bogoglasnyk"» 33 . Basilian songs were the basis of the rich paraliturgical work of Myron Fedoriv (1907 from the United States. His work includes: church songs, Ukrainian religious songs (more than three hundred of them), songs, carols (more than a hundred of them); recording of 30  Basilian melodies 34 . Some of these works are author's, but in most cases the composer arranged already known melodies. A separate group consists of solemn or lyrical songs and hymns in honor of the Virgin Mary and the saints. Many of these works are inspired by preparations for the celebration of the 1000th anniversary of the Christianization of Rus-Ukraine. M. Fedoriv borrows some lyrics and melodies of songs from Pochaiv «Bogoglasnyk», harmonizing them with the Ukrainian translation («Zberits'a nyni», «Hymn to Basil the Great», «O hore meni», «Rozpjatyi vysysh», «Liudy! Radujtesia Rozhdestvom»). By modernizing the lyrics and harmonizing the melody, the composer sought to give new life to ancient Basilian melodies. M. Fedoriv created choral songs based on the conditions and needs of the time, for educational purposes for the younger generation. M. Fedoriv's paraliturgical music, which illustrates the conservative orientations of the emigrant composer, is characterized by simplicity and ease of performance, which is due to the very nature of Galician folk singing. In the conservatism of the composer's aesthetic principles, there is a completely justified secret goal -to recreate a unique national figurative sphere, imbued with the spirit of soft Ukrainian temperament and deep religiosity.
The clergy contributed to the creation of paraliturgical music. Yes, the author of such works was Fr. Hryhoriy Pavlovsky (1884-1967) from the USA, in whose paraliturgical cycles ( Andriy Hnatyshyn  from Vienna was one of the most prolific composers in the field of sacred music. The number of his sacred heritage is very solid. This is a collection of church songs «Bohorodytsi na slavu» (1974) 37 , «Ukrainian church songs for all holidays» for mixed choir (1986) 38 , collection of Ukrainian, Czech and Polish carols «Koliady» for mixed choir in four notebooks (1958)(1959)(1960) 39 etc. A. Hnatyshyn's arrangement of paraliturgical works is one of the composer's outstanding achievements. It is dominated by several thematic areas: songs of the winter cycle, songs to the glorification of the Blessed Virgin, songs to other holidays of the annual liturgical circle, penitential songs of Great Lent. I. Demyanets states, that «A. Hnatyshyn's own compositions significantly complicate the stylistic principles of singing, which reflects the originality and depth of religious feelings of the Ukrainian people», they «follow the classical traditions of national liturgy and paraliturgy» 40 .
Bohdan Y. Kushnir (b. 1921) from the United States included some songs that are not widely known in the collection of liturgical works. These are a cappella works «Christ is Risen» from Sokal, a carol from Przemyśl «There behind Bethlehem», Mary's songs («To Your feet, Virgin», «Our Lady shines» from «Bogoglasnyk» and «Virgin Mary» -lyrics and melody by R. Kupczynsky, accompanied by piano 41 . 36 Ukrajinsjki kanty i psaljmy [Ukrainian cants and psalms]. Muzychna sekcija Naukovoboghoslovsjkogho in-tu UPC v S.Sh.A., 1953, р. 9. (in Ukrainian) 37 Total amount of songs dedicated to Virgin Mary -97. 38 Composer has written 61 songs for all holidays. 39 There are 57 arrangements in total. 40  and 137 («Over the rivers of Babylon»). All of them are written for choir with piano or orchestra, 149th with solo bass-baritone. Their non-canonical texts are deeply philosophical poems that embody man's appeal to God, repentance, supplication. Psalm 137 45 , which conveys the mourning of the Jewish people expelled from ruined Jerusalem to the Babylonian captivity, is close to a small cantata for mixed choir and symphony orchestra, has a pervasive form and is one of the composer's greatest achievements. The composer wrote spiritual solo songs: «Virgin Mary», two «Psalms» in T. Shevchenko's arrangement for baritone.

PARALITURGICAL WORKS OF MYKHAILO HAYVORONSKY.
The palette of Mykhailo Hayvoronsky's paraliturgical works is quite wide. These are: a cycle of chants from Pochaiv's «Bogoglasnyk», arrangements of carols, songs of the Virgin and Resurrection, prayers to the King of Heaven, communions. It should be noted that the «Bogoglasnyk» contains 250 ancient and newly created spiritual songs, grouped by calendar-thematic principle: 42  songs dedicated to Jesus Christ, the Virgin and her miraculous icons, various saints and songs of penitential and prayerful content.
The central place of M. Hayvoronsky's paraliturgical work is occupied by the ancient «Kanty» from the Pochaiv «Bogoglasnyk» (1792) 46 . This outstanding achievement of the composer, who published them in 1939 in oo. Basilian, dedicated to the «Basilian Brotherhood in Zhovkva», received a favorable review of music critics. Stanislav Lyudkevych in the pages of «Dilo» (May 21, 1939) expressed confidence that «the collection will do a good service to our church choirs» 47 47 49  Carrying out the processing of chants, M. Hayvoronsky set himself a difficult task -«to make arrangements for the choir and to preserve as much as possible the stylistic features and characteristics of the spiritual song of the early Classicism Ukrainian Baroque» 55 . «However, the composer treated musical texts with all responsibility, -as Y. Medvedyk notes. -At first, the author of the arrangements had to work on poetic tests of songs. Most of them have a strophic structure with a significant number of stanzas. The composer was quite free with the verbal text: he removed a significant part of the stanzas, changed their places, gave new meaning to certain poetic inversions. Due to this, information about acrostic poems that indicated the authorship of the songs was lost. The music of the songs underwent rhythmic changes in the direction of reducing the duration of the notes, which gave the songs the necessary dynamism, clarity of form» 56 .
M. Hayvoronsky wrote: «Songs written in honor of the miraculous icons of Mary the Virgin occupied a special place in the rich corpus of our spiritual song. These are songs that can be dated quite accurately, and the places where they are written can be determined without much difficulty. Usually, such poetic texts are full of descriptions of various miraculous properties of icons, often it is a "documented" indication of the exact date, often the plots are overgrown with apocryphal elements. Chant-concert tp the Blessed Virgin of the Mother of God «Bozhija Mater siyaet» and is a response to the real event of 1756, when a miraculous Carmelite icon was crowned in Berdychiv, which «cleanses all lepers, heals the limping, the blind and the frail ...» 57 .
At the same time, the composer enriched Ukrainian church music with other paraliturgical works. Despite the fact that work «Christ is risen from the dead» is written in a canonical text 58 60  Lord» 62 та «Stradcha Mother of God» 63 are the arrangements of traditional spiritual songs. In the elaboration of the Easter song «Rano-ranenko» the features of the church tradition are organically combined with the folk song sources 64 .
Each of the above works is marked by sincerity and depth in the disclosure of human feelings and experiences. The composer's music conveys a different state of mind: here both solemn exaltation and restrained sorrow; lyrical enlightenment and playful joy. Preserving the traditional form for church music, M. Hayvoronsky fills it with universal meaning.
Let's focus on individual samples and analyze some means of musical expression that determine the stylistic features of the composer's work in this genre.
Both Eucharistic songs «Accept Christ body» and «Praise» written for mixed choir in the form of a fugue and demonstrate filigree in its application to this genre. Choral miniatures -«Christ is Risen» 65 and «Rano-ranenko» 66 , are dedicated to holy Easter Day. Created in the 1940s, these works, despite their modest scale, attract a number of interesting compositional techniques. In particular, the chorus «Christ is Risen» begins with a joyful ascending bass phrase with the sounds of a tonic triad, which is picked up by other voices to merge on the sustained dominant chord with the fermata. Thus, the first fourbar graphically looks like an upward movement and it illustrates the words of the text, embodies the ascension of the human spirit. And then the canonical «echoes» of female and male voices help to convey a bright, sublime, festive mood. «Rano-ranenko kuronky zapily» is an old spring song from the collection of Filaret Kolessa. It belongs to the so-called genre of «ryndzivkas», related to folk carols, as evidenced by the structure of the poem (5 + 5 + chorus). The 62  to researchers of M. Hayvoronsky's work, in particular V. Vytvytsky, this is perhaps the most rich period of the artist's work in this genre 71 . We can assume that the processing of folk songs became for M. Hayvoronsky not only a «creative laboratory», but also a kind of talisman, a symbol of the indestructibility of the folk spirit, the personification of the immortality of high human values in the tragic period before and during World War II.
The basis of the four-part choral cycle «Hutsul Christmas», published by the «Ukrainian Music Consignment Note» in New York in 1933, M. Hayvoronsky chose four melodies from the work «Hutsulshchyna» by V. Shukhevych and dedicated the cycle to the bright memory of the outstanding folklorist 72 . The cycle was highly praised by many Ukrainian cultural figures, including B. Kudryk, F. Steshko, V. Vytvytsky, and R. Prydatkevych. As V. Wytwycky notes, M. Hayvoronsky «admired the ancient ritual songs, especially in the songs of the winter cycle -kolyadkas and shchedrivkas» 73 . And then M. Hayvoronsky's researcher of the life and work quotes words from the composer's letter to P. Matsenko dated October 10, 1939: «Interesting lyrics and melodies, and antiquity shines with its beauty and power». According to Borys Kudryk, the composer discovered a real «new world» -Hutsul carols and Christmas play songs -«romantic remnants of a pagan cult» 74 . R. Prydatkevych held the same opinion, writing in a review of this «choral suite» that the composer managed to create a work in which he preserved the «smell of pre-Christian times», and the cycle in general «is a huge asset for our music literature» 75 . Fedir Steshko emphasized the evolution of the composer's development in this genre: «Hayvoronsky, during his American life, worked a lot both on understanding the signs of Ukrainian folk melody and on his compositional technique. There is no trace left of the earlier, somewhat primitive harmonization of songs -the author has fully mastered the style of Leontovych and the late Stetsenko. All songs are processed with preservation of characteristic signs of the Ukrainian national way of group singing» 76 . The outstanding folklorist Filaret Kolessa, with whom the composer kept in touch, consulted and considered himself a follower in his work, praised M. Hayvoronsky's arrangements. F. Kolessa emphasized in his letter: In your works ˂… ˃ fresh, original talent, youthful scope and highly developed compositional technique are seen everywhere, and, most importantly, understanding and mastering the spirit of Ukrainian folk music, which assures them of longevity» 77 . M. Hayvoronsky's work on choral arrangements of folk and church carols did not stop in the future as well.
Oksana Pismenna and Orysia Tsybukh-Petryshyn were among the first in independent Ukraine to analyze carols arranged by M. Hayvoronsky, paying attention to the musical form, harmony, development of thematic material and came to the conclusion that «...the choral cycle "Hutsul Christmas" demonstrates the high professional level of the composer, deep mastering, study and transformation of characteristic features of musical notation depending on regional specificity of the used source» 78 . Andriy Slavych also analyzes the cycle and published it, making it available for performance by choirs in Ukraine 79 .
Some examples of the composer's carols, in particular «At Christmas», «Hutsul carol», «In Bethlehem», «At night, at midnight» and «The Immaculate Virgin gave birth to a Son», created in 1942-1945, attract attention 80 . While abroad, M. Hayvoronsky never lost his spiritual connection with his native land and the achievements of national culture. Interestingly, it was at this time in 1942 that the eminent British composer B. Britten, who also found himself in exile, created a series of «Christmas Songs» («Ceremony of carols») for children's boys' choir and harp or piano. Thus, the arrangements of the spiritual songs of the two composers, a Ukrainian and a British, can be linked by a common idea that affirms the belief in goodness and beauty that can save the world from destruction. Each of them has its own intonation-rhythmic, fricative-harmonic features, poetic structure and general form, i.e. reflects the stylistic features of a particular region. As V. Vytvytskyi notes, M. Hayvoronsky «was the first of our composers to pay such great attention to the division of arrangements according to the place of songs origin, giving a break to Ukrainian musical dialectology» 81 . M. Hayvoronsky's skill is that he, on the one hand, adheres to the traditions developed by the compositional practice of previous generations, and on the other -uses the means of musical expression to individualize the figurative content of each carol in particular.
One of the best arrangements is the Lemko carol «At night, at midnight», created by M. Hayvoronsky in 1942. According to the score, the text and melody were recorded by Father Antin Berik. This is a sincere and touching story about the birth of Jesus Christ, which focuses on the figure of the Mother of God, her care of the baby. The general character of music is light, calm, dreamy, full of warmth and tenderness. The image of the Mother of God traditionally represents the personification of boundless maternal devotion and love. The carol sounds at a leisurely pace «moderato». However, the author concretizes the image with the indication «misterioso», because in the Christmas action there is always an element of sacrament and mystery. The musical form of the work is verse-variation. The main theme consists of two parts -a four-bar chant and a twice-repeated four-bar chant (scheme -abb1). This structure is typical of many arrangements of Ukrainian folk songs. The melody is dominated by smooth, gradual, wavy motion with a gradual expansion of the range. The rhythmic pattern with an emphasis on the second and third parts of the bar in the size of ¾ resembles a mazurka. And this is no accident, because the Lemkos at one time (before their deportation by the Polish communist regime in the late 1940s) lived next to the Poles, and therefore there was a rich interaction of the two cultures. As for the choral texture, the composer chose the traditional chord-harmonic presentation for this genre. However, he diversifies it with the help of interesting techniques, strives to melodize the choral fabric, saturates it with echo, enriches it with various movements. The original is a fretharmonious language with the use of plagal inversions, which colors the music in soft «pastel» tones. The composer strives to renew the musical fabric in the exhibition and when repeating the chorus uses long durations in the accompanying voices as vocals (open sound «a»). M. Hayvoronsky demonstrates high compositional skills in the next three stanzas of the carol song. Keeping the folk melody unchanged, he constantly updates the musical material due to textured and harmonious variation, uses the echoes of the parties in the spirit of church antiphonal singing, elements of «instrumentalization» of the upper voice (vocals on «a»). Such techniques testify to M. Hayvoronsky's creative mastering of processing folk melodies methods by M. Leontovych. The text of the carol mentions a «feather from paradise», which the baby promises to bring to the mother in the future so that she can sleep. «Lullaby» intonations and rhythms appear in the music, which promotes a feeling of calm, dreaminess, silence. The choral arrangement of the carol «At night, at midnight» by M. Hayvoronsky is indicative of the composer's creative method in this genre. It not only testifies to the specifics of the elaboration of the folk song source, but also has a high artistic value. If the carol «Midnight at Night» arranged by M. Hayvoronsky represents Lemkivshchyna, «The Immaculate Virgin gave birth to a Son» refers to another ethnographic region of the Carpathians -Hutsul region 82 . It is no coincidence that the composer defined its name as «Hutsul carol». The work was written in 1943, as evidenced by the recording on the choral score. And also the specified folklore sourcerecord of K. Kvitka, probably from the collection «Ukrainian folk melodies». By the way, this is not only a thorough scientific work of a Ukrainian folklorist, which represents the richness and diversity of folk music. Composers, in particular L. Revutsky, B. Lyatoshynsky, P. Kozytsky and many others, who repeatedly used these melodies in their works, repeatedly referred to K. Kvitka's collection. M. Hayvoronsky kept the original melody in the arrangement of the Hutsul carol, but edited the text and supplemented it according to his own artistic and poetic taste. It should be emphasized that in many works of this genre, he repeatedly added words, expanded the text to create a full-fledged finished choral composition.
The carol «The Immaculate Virgin gave birth to a Son» mentions a traditional event for the genre -the birth of Jesus Christ, who is joyfully greeted and generously gifted by the «three kings» from the East. M. Hayvoronsky puts the four stanzas of the carol into a clear musical form with an alternation of singing and chorus. Thus, in music the first and third stanzas of singing are repeated, and the second and fourth acts as its updated variant. The nature of the music is bright, cheerful, solemn in a clear marching rhythm. The composer changes choral voices in places, using the double counterpoint of the octave, which renews the musical material and diversifies the timbre palette. As for the carol chorus, it always sounds invariably on the words «Oh, rejoice, earth, rejoice people, glorious eternal God, glorious in heaven and earth». The initial unison tutti complements the chord's full-sounding chords in traditional harmonization.
M. Hayvoronsky's choral arrangement «The Immaculate Virgin gave birth to a Son» is large-scale in structure with active musical development 83 . It is based on the ancient Podillia carol, the melody of which has its roots in pagan times. This is evidenced by the poetic form of the song, which, despite the religious content, has a typical for this genre ten-syllable structure of the line with the refrain: «Pre-chys-ta Di-va ǁ Sy-na zro-dy-la, ǁ Ra-duy-sia» → 5+5+3. And also the corresponding rhythmic drawing. This is one of the main song types of carols, which are found not only in Podillya, but also in other regions of Ukraine.
The poetic text of the song is connected with the biblical story of the Son of God's birth, whom the evil king Herod seeks to destroy, but the Blessed Virgin saves the baby from danger. Despite the fact that the general character of M. Hayvoronsky's choral arrangement is festive, solemn, and life-affirming, the composer found an opportunity to reveal certain details of the poetic text in music. The work consists of five stanzas, each of which contains two lines. The first twelve-bar stanza is an exposition of the musical image of the Mother of God. Therefore, the character of this section is bright, majestic, sublime. The main theme is based on the same sounds of the major hexachord as the abovementioned «Hutsul carol». At the same time, in the melody we meet the socalled «trichord chants» (e.g., «d-c-h», «d-a-g»), repetition of the phrase in the spirit of a magic spell («h-h-h-a-c»), and this once again confirms the ancient origin of the folklore source. The gentle transparent triad of female voices is replaced in the second sentence by the rich timbres of a full-sounding chorus. M. Hayvoronsky's desire to melodize middle voices is also clearly manifested. The second stanza of the carol mentions Herod, and therefore the nature of the music changes. The main theme, more gloomy and severe, sounds in unison of bass in a parallel key -E minor. Sincere sadness is felt in the next fragment with the use of plagal harmonies against the background of a tonic organ point. The third stanza is another version of the original theme. It is a dialogue between the Blessed Virgin and Herod, who embody the antagonistic forces of good and evil. The beginning of the fourth, and later the fifth stanza, is superimposed on the end of the previous section, which contributes to the unity of the musical form. The fourth stanza depicts Herod seeking Christ in vain. The last fifth stanza of the carol is associated with the image of the Blessed Virgin, who securely hides the Son of God. Music attracts attention with its sincerity, warmth, cordiality. The main theme in E minor is again performed by the bass, but it is enriched with a soft expressive counterpoint in the soprano. The composer originally concludes the work by holding the theme in middle voices against the background of the sustained sound of «h» in soprano and bass in muted dynamics, which creates a sense of mystery, charm. The music «freezes» on the sustained chord of the dominant of the parallel minor. In general, the carol «The Immaculate Virgin gave birth to a Son» was worked out by M. Hayvoronsky with great skill and reveals the characteristic stylistic features of the composer's music in the genre of choral arrangement of folk songs.
Another striking example in the artist's work is the treatment of the folk carol from Kyiv region «On Christmas Eve», created in 1944 in the second edition 84 . The author supplemented both the melody and the text of the folklore source. The three stanzas of the carol mention the birth of Christ, the rising of the stars from the sea and the ringing of bells that heralded this joyful event. M. Hayvoronsky's work is a modest twelve-bar choral miniature, consisting of a four-bar chant and a twice-repeated four-bar chorus -a typical song form of folk music (abb1). The melody of the song is traditional in terms of intonation structure, but it is original in rhythm and is distinguished by active syncopation. The recording of the carol melody by the composer, with a shift and variability of accents, is more reminiscent of the scientific approach of modern ethnomusicologists. As for other means of musical expression (harmony, texture), the carol «On Christmas Eve» is simpler than the previously analyzed samples.
The choral arrangement of the carol «In Bethlehem», created by M. Hayvoronsky in 1945, is the same laconic «sketch» 85 . The author supplemented the first two stanzas with his own poetic text and the song became a five-stanza. In addition, he created his own version of the melody, according to the author, «in the folk spirit».
Thus, the paraliturgical works of M. Hayvoronsky represent an important part of the artist's creative work. Antin Rudnytsky generalized that in the field of church music M. Hayvoronsky «gave examples of deeply religious expressiveness, imposed on the one hand to folk songs, on the other -to Bortnyansky», as well as express «… and originality and specific talent of the composer» 86 , and V. Wytwycky believed that «in its content Hayvoronsky's music is an expression of his religiosity and depth of thought and optimism», in which the composer «departed from the position of the «Peremyshl school», to the mastering of the church-folk style.» 87 .

CONCLUSION.
During the twentieth century, composers of the Ukrainian diaspora, representing different styles, worked prodctively in the field of paraliturgical 84  creativity. Original works and elaborations of folk samples of spiritual song present its various genres: carols, chants, psalms, songs to saints and holidays.
Sacred music has always attracted the attention of M. Hayvoronsky, who was aware of his role in the development of national culture. However, the composer turned to this genre during the period of emigration. Particularly rich in this context were the years 1930-1940, when numerous examples of sacred music were created, which have a high artistic value. Paraliturgical music by M. Hayvoronsky testifies to a strong connection with traditions: here the influence of «partsong», and the achievement of the «golden age» of Ukrainian music, and creative achievements in this genre of older contemporaries -M. Leontovych, K. Stetsenko, O. Koshyts. On the other hand, the close connection of this music of M. Hayvoronsky with folklore sources is noticeable, first of all, in the sphere of melody, texture, principles of development of musical material. The sacral-aesthetic element of M. Hayvoronsky's spiritual music is expressed by the figurative content of these works (bright, contemplative mood, sorrowful-focused prayer spirit, joyful exaltation, mood setting), aesthetic categories (sublime, beautiful, harmony, aesthetic ideal). The composer also finds the appropriate means of musical expression to realize his idea. Among them -bright melodies with the advantage of gradual movement, roundness and smoothness of melodic phrases, major-minor fret system with «interspersed» of colorful harmonies, homophonic-harmonic presentation of the texture with a desire to melodize voices and using elements of polyphony (fugue-eucharistic songs), timbre in the form of comparison of soloists and the whole chorus, couplet-variational principle of development. Due to its genre and style features, the spiritual music of M. Hayvoronsky became an integral part of the development of the national school of composers and contributed to the establishment of its identity. SUMMARY Due to its genre and stylistic features, the paraliturgical music of diaspora composers, including Mykhailo Hayvoronsky, became an integral part of the development of the national school of composers and contributed to the establishment of its identity. The genre of processing spiritual songs as a sacred and aesthetic element of the spiritual musical culture of Ukrainians symbolizes the search for ethnic identity, where the ideas of national and cultural identity are being realized.