 UKRAINIAN MUSICAL FOLKLORE DISCOGRAPHY AS A PRESERVING FACTOR IN UKRAINIAN DIASPORA NATIONAL SPIRITUAL

EXPERIENCE ABSTRACT: The presented material studies one of the important forms of transmission of the musical folklore tradition of Ukrainians in the United States and Canada during the XX – the beginning of the XXI centuries – sound recording, which is a component of the national spiritual experience of emigrants. Founded in the 1920s, the recording industry has been actively developed and has become a form of preservation and promotion of the traditional musical culture of Ukrainians in North America. Sound recordings created an opportunity to determine the features of its main genres, the evolution of forms, that are typical for each historical period of Ukrainians’ sedimentation on the American continent, as well as to understand the specifics of the repertoire, instruments and styles of performance. Leading record companies in the United States have recorded authentic Ukrainian folklore reconstructed on their territory by rural musicians and choirs. Arranged folklore material is represented by choral and bandura recordings, to which are added a large number of records, cassettes, CDs of vocal-instrumental pop groups and soloists, where significantly and stylistically diversely recorded secondary Ukrainian folklore


INTRODUCTION.
The social and political situation in Ukraine (starting from the XIX century) caused four emigration waves of Ukrainians and led to the emergence of a new cultural phenomenon -the art and folklore of Ukrainian emigration, i.e. diaspora culture. Having found themselves in difficult ambiguous conditions, where there was no favorable living environment, Ukrainian musical folklore began to lose its original identity and underwent assimilation processes. It was the sound recording that made it possible to record an authentic folk melody by its ethnophore -the bearer of this culture.
The first attempts to record folk music, both for scientific and commercial purposes, began immediately after the creation of the phonograph by T. Edison research projects, including camp and studio recordings of village musicians and singers in Ukraine with the participation of Ukrainian ethnomusicologists, as well as a reissues of Ukrainian Radio. Authentic camp records of Transcarpathian Lemkos and Ruthenians have been recorded in Poland and Slovakia 3 .
Bandura recordings in France and Poland in the 1920s and 1930s. represented by Vasyl Yemets and Mykhailo Teliga, among whose works there are accompaniments of folk songs, epic and lyric-epic works, folk songs. Bandura soloists who were recorded in the 50-60's of the XX century in Great Britain, France, and Germany -Volodymyr Lutsiv, Borys Tsybulsky, and Bohdan Sharko. In particular, the repertoire priority of the bandura singer V. Lutsiv (Great Britain) was epic works (dumas) despite the wide genre palette of a professional concert performer (arrangement of folk songs, romance solo songs, instrumental compositions). In 2009 an anniversary set of the artist's CDs was released -a three-disc collection with recordings of his best works from different years (55 works) 4 .
The Austrian company «Pate» recorded Ukrainian singers -R. Lyubinetsky (tenor) and O. Nosalevych (bass) and O. Nyzhankivsky (bass) in the period of 1910-1913. At that time, the prominent Ukrainian singer Solomiya Krushelnytska had 11 recordings, which she made in 1902 in Warsaw. In 1930s Germany, Ukrainian tenor K. Andrienko («Telefunken» label), tenor O. Rusnak (Electrola), I. Synenka-Ivanytska (1962,1972,1975), who recorded 4 LPs of folk songs and Ukrainian composers' romances in the late period of her life. M. Mentsynsky's discography is significant, including 22 Ukrainian folk and author's songs recorded at the «Gramophone» studio (Stockholm, 1910, Berlin, 1911. I. Malanyuk (Austria) recorded three LPs of Ukrainian music, including folk songs. For the recording purposes, part of her arrangements and church music by A. Hnatyshyn was performed by the Vienna Symphony Orchestra 5 . In Argentina, «Victor» made Ukrainian records performed by sopranos -T. Likholay and E. Saprun, tenor O. Khlebych.
In the 1930s, the Polish firm «Surena-Electro» created 73 Ukrainian recordings, 26 of which were performed by the Lviv choir «Surma». The 3 Ibid. 4 Dutchak V. (2013) Bandurne mystetstvo ukrainskoho zarubizhzhia XX -pochatku XXI stolittia: monohrafiia [Bandura art of the Ukrainian diaspora in the XX -early XXI century (monograph)]. Ivano-Frankivsk: Foliant. (in Ukrainian) 5  Chapter IX; Ukrainian musical folklore discography as a preserving factor in Ukrainian diaspora national spiritual experience Argentine firm «Boyan» and the Australian «Cosmopolitan» also recorded Ukrainian choirs, including the Ukrainian National Choir. In 1950s Great Britain, a large number of recordings were made by the Ukrainian choir «Burlaka» («Oriol») 6 . On the eve of the war, 4 LPs of Ukrainian songs performed by the Ukrainian Academic Choir (conducted by P. Shchurovska-Rossinevych) were recorded in Prague. Works performed by the «Byzantine Choir» from the Netherlands (directed by M. Antonovych) were recorded in Amsterdam, USA and Canada. Of the 211 recorded works, more than 50 are Ukrainian folk songs arranged by famous composers. The men's choir «Zhuravli» (Poland) recorded a CD of Ukrainian carols and Christmas carols (1996). Australian choirs «Cheremosh» and the cathedral choir of the St. Peter's and Paul's church from Melbourne also recorded Ukrainian carols and arrangements of folk songs 7 .
Since, as we can see, there were only a few samples of folklore recordings in Europe, thus we will look in more detail on the analysis of the Ukrainian diaspora sound publishing activities in Canada and the United States.
Samples of Ukrainian musical folklore were transported overseas by the first Ukrainian immigrants in authentic form, and thanks to their good preservation, Ukrainian folklore immediately attracted the interest of American publishers, who initiated the release of records and later CDs. But due to the lack of traditional living environment and various influences (globalization, urbanization, the influence of the surrounding culture and performance trends, rapid technical modernization, etc.), authentic folklore was transformed, which led to the phenomenon of folklorism -composition and performance (arranged and ethnographic) which is represented by academic and pop art of Ukrainian performers 8 . Therefore, later samples of folklorism recordings were added to the authentic sound recordings.
At the beginning of the XX century, during the first wave of emigration, for the first time it was possible to record samples of authentic folklore (that was brought overseas) and make the first sound recordings of its reconstructed traditional samples, as well as the first choral sound recordings. 6 8 Fedorniak N. (2020) Transformatsiia muzychnoi folklornoi tradytsii u seredovyshchi ukrainskoi diaspory Pivnichnoi Ameryky: istoryko-vykonavskyi aspekt [Transformation of musical folklore tradition in the environment of the Ukrainian diaspora of North America: historical and performing aspect] (PhD Thesis), Lviv: Lviv national music academy named after Mykola Lysenko.
During the third wave of emigration (after the Second World War) bandura art became actively developed and spread, which was expressed in the first recordings of bandura players. At this time, traditional folk instrumental performance, which dominated among Ukrainians in North America during the first waves of emigration, living among the general population under the influence of North American musical performance trends (borrowing instruments and expressions, etc.) gradually transformed and became part of pop music. This determines the specificity and nature of changes in the genre system of performance, manifested in synthesis with different directions and styles of mass music (pop, rock, country, ska, reggae, world music), and reveal a diverse presentation of Ukrainian folk music tradition by famous performers and groups. The traditional component of their work is arranged performing folklorism, which is reflected in the significant discography of the bands 9 .
A feature of the Ukrainian diaspora musical life was the reconstruction of traditional music, which is represented by the activities of modern groups («Korinnia», «Calendar», etc.). The main purpose of the performers activity is to preserve and promote the Ukrainian song heritage and its representation to a wide range of listeners from different generations and sound recordings 10 .
During the fourth wave of emigration, the field of recording is actively developing both in academic performance and in mass pop music. SOUND RECORDINGS OF RECONSTRUCTED TRADITIONAL MUSIC OF UKRAINIANS: HISTORY, STAGES OF DEVELOPMENT, GENRE SPECIFICS.
The sound publishing activity of the Ukrainian diaspora began in the 1920s-1930s in North America due to the demand for ethnic recordings and the artistic needs of the first emigration wave (XIX -early XX century). R. Spotswood explored that «in a state with strange customs and values, where different people spoke incomprehensible languages, the phonograph was a way to emotionally return to their homeland. Records with familiar songs 9 Fedorniak N. (2019) Syntez folkloru i estradnoi muzyky u zvukozapysakh ukraintsiv Pivnichnoi Ameryky [Synthesis of folklore and pop music in the recordings of the ukrainians of North America]. The ethnology notebooks, vol. 1, pp. 149-156. 10  Chapter IX; Ukrainian musical folklore discography as a preserving factor in Ukrainian diaspora national spiritual experience strengthened traditional values and self-esteem among emigrants» 11 .
Even before the First World War, the sale of records and phonographs among the emigrants in the United States became a popular business. Therefore, in 1914, US record companies recorded musicians and singers who emigrated and became actively involved in the cultural life of the Ukrainian community (studios in New York and other cities). During the period 1902-1952, the record number Columbia produced the most records -600, «Victor» produced less -about 300 (USA), their records were distributed in Canada 12 . In the early 1950's, «Victor» stopped producing Ukrainian records, instead conducting private recordings, in particular, they recorded the first two albums of the The Taras Shevchenko Ukrainian Bandurist Chorus of North America. The American firm «Odeon/Okeh» made 120 Ukrainian recordings (1921)(1922)(1923)(1924)(1925)(1926)(1927)(1928)(1929)(1930), and «Brunswick» recorded 48 (1922-1930). The least Ukrainian records and rollers were released by «Edison», «Emerson» (early 1920s), «Asch» (1940), and «Sonart» (1943). The list of all performers who recorded the Ukrainian repertoire on the records of these companies, according to S. Maksymyuk, is 123 positions -soloists, choirs, vocal trios and quartets, village orchestras, theater troupes, bandura players. Recordings were made on short-playing records (gramophone records at 78 rpm, on one side of which there were no more than 5 minutes of sound (diameter 300 mm) or 3 minutes, i.e. only short works or abbreviated versions of long ones could have been recorded). Thus, each disc of the 1920s-1940s is two pieces of music or thematic scenes, or one piece divided into two parts 13 .
Ukrainian recordings in the Canadian record industry began in the late 1940s after A. Groshak successfully recorded an album of Ukrainian songs performed by the Ukrainian Men's Choir (Winnipeg, «Quality Records») and a series of Ukrainian folk songs accompanied by guitar by T. Stehishen (Ontario). After that, other record companies emerged -«V-Records», «Regis Records», «Galaxy», «UK», «Eagle Records» (Winnipeg). «Heritage Records» and «Sunshine 11 Spottswood R. (1979) Ethnic music in America: First progress report on a discography. JEMFQuarterly, vol. 54, pp. 84-91. 12 Klymenko І. Records» also joined the industry in the 1970s. «Sage Records» and «Yevshan Records» (1970), whose production was urban oriented, were record-breaking companies in the Montreal area. They competed with Western firms, whose demand was generated by the Ukrainian rural environment. During this time, numerous independent small businesses emerged. With the improvement of recording technologies in the 1980s, and especially in the 1990s, the number of recordings created at home increased 14 .
At the beginning of the XXI century, with the development of digital technologies (CD) and a large number of private companies, the recording industry organically includes every group and soloist of the Ukrainian diaspora due to their desire to record their national art.
The recording of Ukrainian traditional music began in America in New York 15 , and was first performed on December 3, 1925 («Okeh Records») -it was a recording of a live rural performance of Galician «kolomyikas» and «kozachok» -by prominent violinist Pavlo Humeniuk and his musicians, which became a special event in the socio-cultural life of the Ukrainian community. A few weeks later, P. Humeniuk signed a contract with «Columbia». The main genres of the violinist's recordings were: 1) thematic, which combined texts, songs and instrumental melodies, 2) instrumental rural dance music, and 3) accompaniments to V. Avramenko's dance repertoire 16 . Among the first recordings is a series of works with singers E. Zhukovsky and R. Krasnovska, which depict miniature scenes of Ukrainian weddings, baptisms, parties, which combine the play of P. Humeniuk and songs with lyrics. Among them is «Ukrainian Wedding» (1926, sale of 150,000 copies), which made the violinist popular not only in Ukrainian but also in other ethnic circles. Recordings of rural traditional music are represented mainly by dances -«Ternopil kolomyika», «Skalat kolomyika», «Zolochiv kolomyika», as well as «Arkan», «Chaban», «Hutsulka» -which were used for their dance compositions by the famous choreographer V. Avramenko and ceremonial music. In addition to the violin, tsymbaly and drums as a traditional composition, the violin was combined with clarinet, trombone and piano; guitar, drum and tambourine; cymbals and Chapter IX; Ukrainian musical folklore discography as a preserving factor in Ukrainian diaspora national spiritual experience double bass. P. Humeniuk was a leader among performers of this period, he recorded more than 200 records and in the 1990s was honored with a monographic reprint of his best records.
Records of reconstructed traditional music were recorded by professional instrumental groups («orchestras») and singers -mostly soloists, rarely -duets. Apart from P. Humeniuk, S. Shkimb, the Golutyak-Kuzyany brothers, I. Tsyorokh, the M. Potochak orchestra, and vocalists S. Zhukovska, E. Zhukovsky, T. Svistun, and A. Semchyk were the most productive in publishing. Also M. Slobodyan and his «Ukrainian Rural Orchestra», S. Philip and his «Lemko Orchestra», M. Thomas and his «Ukrainian Orchestra» were recorded 17 . According to the listened material of I. Klymenko, the chapels of P. Dudra, A. Barna, the virtuoso playing of M. Thomas and J. Pizio stand out with their authentic sound 18 . The main repertoire of recordings consisted of dance pieces, thematic song and ritual dramatic compositions (replicas, sustained in a rustic style), mostly humorous, as well as songs with instrumental accompaniment. A feature of these materials is the lack of certification -the original data on the performers. The names of works by which it is possible to localize them to certain localities or areas serve as a reference point. For example, «Polka from Galicia», «Ternopil Mazurka», «Arkan Kolomyia» 19 .
The composition of the choirs was marked by the influence of urban music, or probably the lack of people who could play traditional instruments. Often the group included a trombone, accordion, guitar, piano, drums. But still in these cases the basis remained a trifunctional prototype of triple music -a solo first violin, less often -a clarinet, an accompanying second violin («vtora»), a bass (in emigrant chapels -a double bass or a cello) 20 .
Song and drama compositions recreated the wedding ceremony, to which several publishing series in Canada and the United States were specially dedicated. These are the projects of P.  21 .
Christmas compositions were also recorded. I. Tsorokh hovewer was interested in the compositions of the spring-summer cycle -Easter, Green Holidays, Kupala, and harvest. As the members of his troupe were professional musicians and connoisseurs of living tradition, their performance differs in a significant degree of compositional processing, along with a real authentic reproduction.
Sound recordings of the 1930s show a colorful palette of different dances and dance melodies, but with an indication of the type, nature of the dance, age status of its participants or place of origin -kolomyiky «Mischanskaya kolomyika», «Kolomiyka v dvi pary»; polka «Polka parubotska», «Polka Samborska»; kozachky «Palyanytsia», «Kozak dlia starykh»; «Chaban», «Hutsulka v Semerychyni», «Arkan kolomyiskyi», «Chumak», «Trembulyanka», 21 Klymenko І. Thus, representatives of the Ukrainian diaspora in the United States (Columbia, Pennsylvania, New York) during 1925-1939, during the second wave of emigration, actively recorded reconstructed traditional music of Galician-Carpathian origin. The records were sold in large numbers, and record companies produced a large number of products, reaching a record in 1930. In the early 1930s, this figure declined due to the onset of the global economic crisis and the suspension of mass emigration to America, which led to a decline in the market of ethnic music. Later, when the second generation of emigrants lost touch with the traditions of their homeland and did not need appropriate music, the demand for ethnic music fell. Accordingly, in 1939 the activity of the Ukrainian diaspora in the field of recording declined 25 .
In the 1970s, an «ethnic revival» began in America -an active interest in old Ukrainian ethnic records not only by collectors but also by scholars 28  Also, 2 anthology records compiled by G. Cowell were reprinted many times. One of the projects represents Ukraine in the context of folklore aming 15 countries from all continents with a humorous song «Oj u poli krynychenka, «Tida-ruda ya» a polyphonic song with a solo conclusion, performed by young voices. It is significant that Ukraine is singled out here, because it is usually necessary to look for it in the section «Countries of the USSR». Another anthology of the famous American contemporary composer G. Cowell presents Ukrainian folklore among the folklore of the USSR with 2 tracks -the abovementioned humorous song and the track «Arkan». As in earlier editions, the projects of the 1950s and 1970s do not indicate the place of origin of the sound recordings 30 .
In Thus, the leading US record companies recorded the reconstructed authentic Ukrainian folklore performed by rural musicians and choirs, which was then repeatedly republished and is now extremely valuable material for study. Today, sound recordings of modern folk groups that reconstruct traditional Ukrainian music have been added to these sound materials.  (1970,1985) 38 .
In the 1980s, bandura player V. Mishalow (Toronto, Canada) began publishing audio albums, whose repertoire includes mostly arrangements of Ukrainian folk songs and dances. These are the records «Bandura» (1982,1985), The creativity dynamics of Ukrainian pop-oriented vocal and instrumental groups of North America (from the 1950s to the present) is clearly reflected in the recordings of groups, the basis of which repertoire is the processed folk song material.
Popular among the younger generation of Ukrainians was the first record (1975) of the ensemble «Veseli chasy» (Chicago, USA), where among the author's works arranged by I. Stetsiv were also arrangements of folk songs «Tsyganochka moya», «Chorna ya sy chorna». I. Stetsiv's song «Doniu moya» is a nominee for the prestigious Grammy Award of the National Academy of Recording Arts, awarded in two nominations -as the best author's modern Ukrainian song and its performance at the first competition of the Festival of Contemporary Song in Edmonton, Canada. The following audio albums (1977,1995,2007) present lyrical and humorous folk songs -«Ivanku, Ivanku», «Oi, garna ya, garna», «Rozpriagayte, khloptsi, koney», «Ivanku, кupy my rumianku» etc. The recordings are distinguished by perfect vocal and instrumental performance, a rich set of musical instruments in the style of pop-rock. Professional, full of Ukrainian flavor and melody, and at the same time balanced and modern in sound, the album «Veseli Chasy ІІІ» (1995) can be considered one of the best recorded by groups of the Ukrainian diaspora in the 1990s in North America 51 . 49 Ibid. 50 Ibid. 51  American bands that contained Ukrainian folk songs in their repertoire were active in sound publishing in the 1970s and early 1980s. These are the bands «Chervona Ruta» from Syracuse (three LPs) and «Night Melody» from Rochester (four LPs); «Izmaragd» (records with jazz arrangements of songs), «Soniashnyk» (5 records in American disco rhythms) from New Jersey; «Chervona kalyna» (one LP) from New York; «Veselka» (one record) from Rochester, «Mria» (one record), «Malvy» (one LP), duo «Lidan» (records and cassettes) from Chicago; «Magic Eyes» (record and two cassettes) from Stamford; Maksimovich vocal trio (vinyl and cassettes) from Miami. Unusual sound in interesting vocal and instrumental arrangements, recordings of folk songs of the groups «Promin'» from Chicago (one record) and «Iskra» from New York (three LPs) 52 .
After the release of the first successful record «Christmas Holiday» (1981), the ensemble «Cheremshina» (Montreal, Canada) actively began to perform in North and South America. The records with their performance (six LPs, 1983-1995) were extremely popular not only among Ukrainian listeners in North America, but also on other continents. The basis of the repertoire is a lyrical folk song («Oi na gori doshch ide», «Oi tam za lisochkom», «Oi ty misiatsu», «Oi pry luzhku», «Kolo mlyna kremenyna», «Ne lai mene moia nenko» etc.). The success of the band was ensured by impeccably coordinated professional vocals and accompaniment in interesting harmonies and rhythms.
In 1980, the first album was recorded by the entertainment group «Ukrainska Starshyna» (Winnipeg, Canada), which released the most albumstwenty-three vocal-instrumental and six instrumental. Ukrainian folklore is represented by folk dances («Kolomyyka tety Mary», «Viazanky ukrainskykh melodii» etc.), improvisations on folk songs («Balamute-valtz», «Tam na gori» etc.), as well as their own compositions on folklore material. The highlight of the repertoire are humorous songs presented by three albums. Vocal and instrumental material is insignificant («Byla mene maty», «Chorni ochka jak Thus, the sound recordings of Ukrainian diaspora in the field of pop represent a significant achievement in the direction of processing folklore sources, presenting a stylistic synthesis in the form of new compositions based on the re-intonation of traditional song material.

CONCLUSIONS.
The well-timed commercial interest of music companies in examples of traditional Ukrainian music culture has led to the preservation of ethnic music, which could have been lost. The folk music material recorded in the recordings testifies to the richness of forms and genres of Ukrainian music making, as well as to the interest of leading record companies -«Columbia», «Victor», «Okeh», «Brunswick» in the USA; «Quality Records», «V-Records», «Regis Records», «Yevshan Records» in Canada. Sound recordings of Ukrainian traditional music in the western Ukrainian diaspora and its transformation within different performing directions during the XX-beginning of the XXI century (vinyl, audio cassettes, CDs) became more active in parallel with their stage and concert development. In particular, the first are choral recordings and recordings of traditional music, performed in the 1920s (the second wave of emigration). Choral recordings were performed sporadically due to a small number of professional groups. This process revived after the Second World War (the third wave of emigration) and was most evident in the activities of the leading Ukrainian choirs in Canada and the United States.
Sound recordings of traditional music (mostly reconstructed) were actively produced in the period of 1925-1939 (second wave of emigration) in the United States by leading rural musicians and their bands, and in 1950-1977 and 1990-2000 were reissued in the united projects. Ukrainian authentic music is better preserved in Canada, and Ukrainian sound recordings began earlier in the United States, for these reasons, unfortunately, its best-preserved samples have not been recorded. At the time of the sound recording beginnings in Canada (1940s), the oldest folklore samples have already undergone changes.
Traditional ensemble music-making was gradually transformed into popstage music in the activity of vocal-instrumental groups, the dynamic creativity of which from the 1950s was also recorded in sound recordings (the third wave of emigration). Later, in the 1980s, audio materials of the soloists were added to them. The process of their work recording is still active today (the fourth wave of emigration). factor in Ukrainian diaspora national spiritual experience In the 1950s (the third wave of emigration), the recordings of the bandura repertoire were made by Ukrainians that intensified in parallel with the expansion of the bandura network. These recordings reproduce both the preserved Ukrainian traditional repertoire (reconstruction) and composer's arrangement of the traditional folk samples.
Preserved sound materials are examples of instrumental, vocal and vocalinstrumental genres, each of which is embodied in solo and ensemble forms (mixed and homogeneous, chamber and large). The performers in the first period of Ukrainian emigration were peasants -the most valuable performers, as they most vividly reproduce the stylistic style of local materials from mainland Ukraine, as well as folk musicians-professionals with their own instrumental bands and amateur singers.
In the repertoire that reconstructs traditional music, priority is given to instrumental genres (marches, dances -kozachok, kolomyika, polka, arkan, hutsulka), thematic song and ritual dramatic compositions (weddings, baptisms, compositions of winter and spring-summer ritual cycles) and also folk songs with instrumental accompaniment. This group includes separate bandura players' recordings of epic and religious repertoire -dumas, epics, psalms, chants, spiritual songs. The priority genres of the bandura repertoire, in addition to the reconstructed authentic one, are the author's adaptations of koliadkas and shchedrivkas, dumas, military, lyrical, humorous, satirical, and other folk songs by Н. Khotkevych, Н. Kytasty, P. Potapenko, O. Koshyts, K. Stetsenko, and others.
Pop-oriented instrumental and vocal-instrumental sound recordings include arrangements of folk songs (mostly lyrical and humorous), songs of the calendar-ritual cycle (koliadkas, shchedrivkas, vesniankas), instrumental ritual and dance melodies (polkas, waltzes, kolomyikas, etc.) Thus, the recordings became a reflection of the transformation processes of the Ukrainian folk tradition and the diversity of its stylistic representation, as well as a confirmation of the functioning and development of Ukrainian traditional music in the Ukrainian diaspora.