Research Article

Musical and Aesthetic Education of Children and Youth in Ukraine in the 20th Century

Volodymyr Cherkasov*

Department of Musical Art of the Communal Institution of Higher Education, “Academy of Culture and Arts” of the Transcarpathian Regional Council, Uzhgorod city, Ukraine

Submission: September 03, 2024; Published: September 23, 2024

*Corresponding author: Volodymyr Cherkasov, Department of Musical Art of the Communal Institution of Higher Education “Academy of Culture and Arts” of the Transcarpathian Regional Council, Uzhgorod city, Ukraine

How to cite this article: Volodymyr Cherkasov*. Musical and Aesthetic Education of Children and Youth in Ukraine in the 20th Century. Ann Rev Resear. 2024; 12(1): 555827. DOI: 10.19080/ARR.2024.12.555827

Abstract

Тhe article attempts to substantiate the contribution of famous Ukrainian composers and pedagogues-musicians of the 20th century, namely: M. Leontovych, P. Kozytskyi, K. Stetsenko, Ya. Stepovoy, V. Verkhovynets to the musical and aesthetic education of children and youth in Ukraine and to determine the main directions of their creative activity aimed at the development of intellectual capabilities and creative abilities of the younger generation. In addition, the positive influence on the education of moral values by the means of musical art has been proven.

Keywords: Musical and Aesthetic education of children and youth, M. Leontovych, P. Kozytskyi, K. Stetsenko, Y. Stepovy, V. Verhovinets

Introduction

The 20th century went down in history as a period of positive changes and qualitative innovations, a period associated with the appearance of new figures in the music and education system. M. Leontovych, P. Kozytskyi, K. Stetsenko, Ya. Stepovy, V. Verkhovynets occupy a prominent place among the composers and musician-pedagogues of that time.

Method

Theoretical methods, the purpose of which was to establish precedents and determine external connections between them. With their help, it was possible to find out what exactly caused these connections and why they are needed. Empirical methods of observation and research of contact phenomena, experiment, as well as generalization, classification and description of the results of experimental research, their implementation in practical human activity.

Result

Mykola Dmytrovych Leontovych

The outstanding composer, conductor and teacher Mykola Dmytrovych Leontovych (1877–1921) is an unsurpassed master of arrangements of Ukrainian folk songs, the author of more than 50 works for a children’s choir, educational aids for learning musical notation and solfeggio. The formation of the methodology of musical education in the first years of Soviet power is associated with the name of M. Leontovich. For more than twenty years, M. Leontovych worked as a singing teacher in schools in Podillia, Donbass and educational institutions in Kyiv. He was well aware of the problems of rural teachers and the state of teaching singing in Kyiv schools, attended choral music lessons and festivals. In the teachers’ seminary and the Music and Dramatic Institute named after M. Lysenko M. Leontovych led choir classes and taught the basics of conducting technique, music theory and counterpoint. He worked as a choirmaster at conducting and theater courses, taught solfeggio at courses for preschool education workers.

In working with the choir, M. Leontovych, the teacher, introduced the singers to his own arrangements of Ukrainian folk songs, among them: “Above the river bank”, “Dudarik”, “Oh there, behind the mountain”, “Pry dolina poppies”, “Oi ustanu” I’m on Monday.” As a conductor, he took a responsible approach to vocal and choral work, namely: he attached great importance to achieving purity of intonation, diction, singing breath, and warned against singing with a strong and forced sound. It is appropriate to emphasize that in working with children’s choirs, M. Leontovych always focused on the development of students’ musical memory, thinking, musical abilities and aesthetic feelings. He possessed a technique that allowed him to create a complete image of a musical piece in a short period of time. The composer and teacher did not limit himself to performing his own arrangements of folk songs, he offered children songs from the collections of M. Lysenko “Youth”, K. Stetsenko “Luna”, S. Tytarenko “Children’s Entertainment”.

M. Leontovych gives constructive advice to teachers regarding the vocal education of students. Yes, he recommended first-graders to involve high-schoolers in the choir. Researcher of M. Leontovich’s work L. Ivanova emphasizes the fact that he believed that “First graders should hear the choral sound, listen to the singing and try to join it. After two or three lessons, students of the younger group sing by ear” Ivanova [1]. The teacher did not forget about the children who sing falsely. He considered the reasons for this to be timidity, an underdeveloped musical ear and the inability to use the breath. To eliminate this phenomenon, M. Leontovych suggested that the teacher sing a certain melodic phrase together with the student, then break the unison. In such a situation, the child tries to “catch” a new sound and follow the teacher.

In the textbook “Notna gramota” M. Leontovych quite aptly talks about the importance of rhythm in the creation of a musical image and the feasibility of developing its feeling. “Rhythm in music is an element easier to master than melody, and the song-melody itself arose because of rhythm, not vice versa” (Leontovych,. 1920) – emphasizes the composer. M. Leontovych offers specific exercises to develop children’s sense of rhythm. M. Leontovych was the first of the domestic teachers who suggested comparing musical works and separate parts of works with colors. He suggested using seven colors (white, light yellow, light red, blue, dark yellow, dark red and blue) during the music. “The seven mentioned colors and their varieties and the seven tones of the musical scale seem to be in an imperceptible but close connection” Ivanova [1]. The teacher emphasized that the surrounding nature and art are considered as a single integral phenomenon of the universe.

M. Leontovych was well aware of the school’s problems. He took care of the creation of not only choral, but also orchestral groups in schools. At the end of the 19th century, M. Leontovych taught singing and arithmetic in the Chukiv two-class rural school. Here the composer organized a student orchestra, which was able to perform the works of J. Strauss, M. Hlynka, M. Zavadskyi, and played arrangements of folk songs made by M. Leontovych. The teacher considered collective music-making as a means of aesthetic and moral education, a means of developing a sense of collectivism, camaraderie, and responsibility. M. Leontovych, a teacher, supported the initiative of those teachers who involved children in staging children’s operas. He attended the rehearsals of these performances and gave methodical advice on the performance of the main parts, mass scenes and musical accompaniment.

It is worth emphasizing that M. Leontovych respected the system of musical and plastic education of E. Jacques-Dalcroze, promoted it in the teachers’ seminary and in preschool education courses. In addition, he summarized his own experience of working with children and made it the basis of the textbook “Notna groma”. Here, the composer offers training exercises for singing from a sheet, explains the basic concepts of musical literacy, introduces the types of major and minor, intervals, etc. It was the first textbook for secondary schools in the post-revolutionary years. M. Leontovych attached great importance to the teacher’s mastery of a musical instrument. He considered it appropriate to use the violin, harmonium, piano, and concertina in choral singing classes. “He gives the first place to the violin, because its sound is closest to a child’s voice” Umanets [2] – notes the researcher of the pedagogical heritage of M. Leontovych V. Umanets.

It is impossible not to mention that M. Leontovych had a demanding attitude to the quality of the teacher’s work, his professional competence and the improvement of pedagogical skills. “The teacher must be knowledgeable and know the basics of school disciplines, and first of all the disciplines of the artistic direction” Leontovych [3] – emphasized the teacher. Therefore, the pedagogical heritage of M. Leotovych, his pedagogical ideas and work experience in mass secondary schools have not lost their significance and are relevant for the theory and practice of music education. The foundations of music pedagogy and methods of music education laid by M. Leontovych and tested by time are the foundation for further scientific searches and researches of modern scientists.

Pylyp Omelyanovych Kozytskyi

Ukrainian composer and organizer of musical education Pylyp Omelyanovych Kozytskyi (1893–1960), holding responsible positions in the Society named after M. Leontovych, the Union of Composers of Ukraine, the Choral Society of the Ukrainian SSR, took care of the state of teaching singing, and then music and singing in secondary schools of Ukraine. He got acquainted with the level of teaching in various educational institutions, was familiar with the problems of school teachers, and provided methodical assistance to young specialists. In addition to the above, he developed methodical materials and manuals, compiled a pedagogical repertoire, and with his advice significantly influenced the content of educational programs.

P. Kozytsky took an active part in the organization of literary and musical evenings, which in the 20s were popular among young people and were considered a means of musical and aesthetic education of schoolchildren. Children’s choirs and orchestras, as well as instrumental ensembles of various composition, performed at them. Having a good command of the instrument, P. Kozytsky performed in the Kyiv seminary as part of a string quartet.

While teaching music and singing at the First Kyiv Labor School named after T. Shevchenko, P. Kozytsky paid great attention to choral singing and learning the basics of musical literacy. Learning the songs was based on the musical text, the children read from the sheet and played the melody of the song. He performed many works by listening on his own, pre-tuning the students to perceive music in a “live” performance. The school choir, directed by P. Kozytskyi, was considered one of the best in Kyiv. It is for this collective that M. Leontovych writes an opera based on B. Grinchenko’s story “On a Mermaid’s Easter”. P. Kozytskyi, the teacher, attached special importance to work with the choir. Taking into account the age characteristics and vocal abilities of the children, he wrote such songs as: “And it’s already a bright sun”, “Oh, I’m alone, I’m alone”, “We are bells, forest bells”, “Oh, I have a moon” and others. Many original songs were written by the composer to the words of T. Shevchenko, P. Tychyna, P. Kulish, O. Olesya. In addition, his choral collections “Coronaviruses”, “We are the children of the Soviet country”, “We grow up in a happy time” became popular at that time. In the work on the school repertoire, P. Kozytsky attached great importance to songs that instill in children a sense of patriotism, internationalism, friendship and collectivism. “Truly deep feelings are expressed in simple melodies that are well remembered” Protsik [4] – emphasizes S. Protsik, a researcher of P. Kozytskyi’s work.

Appreciating the quality of methodical work, meeting with teachers, P. Kozytskyi gives methodical advice on the organization of musical and educational work with students. In 1928, he published “Summaries of lectures on the history of Ukrainian music” and the methodical manual “Music for the masses”, in which he proposed specific measures to popularize knowledge about composers and their work in secondary schools. P. Kozytskyi recommends the method of preparation and publication of wall music newspapers, in the columns of which materials were published and discussions were held regarding the perception of youth pop music.

A prominent place in the creative heritage of P. Kozytsky is occupied by his scientific work “Singing and music in the Kyiv Academy for 300 years of its existence.” Based on the source base of archival materials, the scientist characterizes the content of the work of the Kyiv Academy, which was the center of the musical and singing culture of the Southwest in the 17th - early 19th centuries. Church and secular music, choir and orchestra, teaching music and creating it – these are the characteristic lines of culture presented by the scientist. P. Kozytskyi proves the influence of choral singing on the vocal and choral education of singers, the role of M. Berezovsky and A. Vedel in church singing. In view of the above, it is worth noting that P. Kozytskyi played a significant role in the establishment and development of mass musical education in the first half of the 20th century. His scientific and pedagogical activity influenced the formation of pedagogical thought and the formation of young innovative teachers who sought to raise the level of musical and aesthetic education of the younger generation.

Kyryll Hryhorovych Stetsenko

Composer, conductor, music critic and publicist, public figure Kyryll Hryhorovych Stetsenko (1882–1922) was born in Cherkasy region, devoted his whole life to the musical and aesthetic education of the younger generation. K. Stetsenko began his musical and pedagogical activities in 1903 as a teacher of singing in Bila Tserkva. His formation as a composer and teacher was influenced by the acquaintance with M. Lysenko, the experience of the Russian teacher K. Ushinsky. The democratic direction of pedagogical work contributed to the formation of the authority of K. Stetsenko as a teacher and methodologist. He promotes Ukrainian and Russian songs, and feeling the need for a children’s repertoire, in 1906 he published a collection of songs called “Luna”. In 1909, K. Stetsenko was arrested and sent to Tambov for his active social and pedagogical activities. Here he continues to work actively, collects material for the collection “School Songs”, provides methodical assistance to singing teachers and leaders of choirs, collaborates in the Tambov music and singing journal “Bayan”.

The composer pays a lot of attention to the children’s repertoire, handles carols and Christmas carols, writes children’s operas “Ivasyk-Telesyk”, “The Fox, the Cat and the Rooster”, “The King of Yalynova Shishka”. While working at the Tyvrovsky Theological School as a singing teacher, K. Stetsenko met Ya. Stepov and M. Leontovych. The latter worked as a singing teacher in Tulchyn. These meetings influenced the formation of the worldview of K. Stetsenko, a composer and teacher. In 1917, K. Stetsenko returned to Kyiv and worked as a singing teacher in a teachers’ seminary. Here he printed methodological and didactic materials “Initial course of teaching children to sing musical notes” and the first part of “School songbook”. A methodical manual for teachers was written for “School Songbook”, in which K. Stetsenko [5] emphasizes “This book, in its methodology, is the result of the didactic practice of the author, who for more than ten years had to teach children to sing music in different types of schools” (Fedotov [6].

In April 1917, K. Stetsenko spoke at a congress of teachers of folk schools in the Yampil district in Podilla with a report “Ukrainian song in a folk school”. He spoke about the aesthetic and moral education of schoolchildren as a means of folk musical creativity, and urged teachers to pay more attention to the study of folk music. K. Stetsenko prepared and presented for discussion the project of the system of organization of music education. He puts music academies in the first place, music faculties in the second place and music and technical schools in the third place. But the composer is most concerned about “musical and aesthetic education of children in primary school” Fedotov [7], – emphasizes the researcher of the work of K. Stetsenka E. Fedotov. In singing lessons in secondary schools, K. Stetsenko believed, the teacher should form the spiritual culture of students, develop and enrich their moral qualities, and cultivate respect and love for relatives and the Motherland by means of musical art.

Composer-pedagogue K. Stetsenko emphasized the need for harmonious development of children. And a folk song should play a certain role here, which vividly reflects the pictures of the life of the Ukrainian people. “Ukrainian folk song,” emphasized K. Stetsenko, “in its words and melody, it has a lot of feeling, thought, and extraordinary simplicity and clarity.” There is no extra word, extra note in it. There are no fakes here, there is no deception for our feelings” Fedotov [6]. So, the name of K. Stetsenka is a vivid example of service to Ukrainian musical culture. The creative legacy of the composer and teacher K. Stetsenko is an inexhaustible source of theory and practice of musical and aesthetic education of the younger generation.

Yakiv Stepanovych Stepovy

Classic of Ukrainian music, composer, teacher, public figure Yakiv Stepanovych Stepovy (real name Yakymenko) (1883–1921) was born in Kharkiv. After graduating from the St. Petersburg Court Chapel, he entered the St. Petersburg Conservatory. The formation of Y. Stepovoy as a composer was influenced by the Russian composer M. Rymskyi-Korsakov, with whom he studied in the composition class. After graduating from the conservatory and serving in the army, Ya. Stepovy returned to Kyiv. In Kyiv, Ya. Stepovy works in a conservatory, heads the section of the sub-department of arts of the Kyiv provincial department of education. Together with M. Leontovych and K. Stetsenko, the young composer devotes a lot of energy to the musical and aesthetic education of secondary school students. He tries to enrich the repertoire of children’s choirs, writes songs for children of different age groups, children’s musical games. The composer shows great skill in writing songs for the children’s choir. He lovingly and poetically reproduces the images of the children’s world, its psychology. This is “Five School Choirs”, 3 issues of a collection of songs for preschoolers called “Snow Whites”. To the words of T. Shevchenko, Ya. Stepovy writes songs that were included in the collection “Kobzar”. They enriched the children’s repertoire, which was quite limited at that time, and played a significant role in the musical education of the younger generation.

It is worth noting that Ya. Stepovy took part in the musical and concert life of Kyiv. He organized musical and educational events for students of various levels of educational institutions, tried to influence the formation of musical culture of young people, to introduce them to the best examples of folk and composer music. Musical and literary evenings were traditional, the programs of which were influenced by Ya. Stepovy. He tried to include in his repertoire the works of M. Lysenko, K. Stetsenko, P. Tchaikovsky, M. Rymsky-Korsakov, Ukrainian folk songs and works of Russian composers on Ukrainian themes. Thus, it is appropriate to emphasize that Ya. Stepovy focused attention on the fact that the teaching of music and singing in secondary schools changed for the better, and the assimilation of vocal and choral literature took place with the help of singing from a sheet. He took care of children’s learning of musical literacy and enrichment of their musical literacy.

Vasyl Mykolayovych Verkhovynets

Ukrainian composer, conductor, choreographer and art critic Vasyl Mykolayovych Verkhovynets (real name Kostiv) (1880– 1938) combined choreography, song and dance performance in his creative activity.

It is appropriate to note that V. Verkhovynets entered the history of Ukrainian musical and pedagogical education as the author of the concept of musical and aesthetic education of children and youth. His educational and methodical manual “Spring Spring” (1923) became a valuable material for future teachers of musical art. The song-games on various everyday topics included in the content of the manual provide an opportunity for children to show their creative individuality, to feel and reproduce with the help of means of musical and stage expressiveness the story line of the song and to convey the figurative and intonational content of the underlying facts and phenomena.

Games with songs for children of preschool and primary school age “Spring” consists of seven sections. In the first, V. Verkhovynets focuses attention on moving games with songs, emphasizing that “thanks to games, you can bring up in a child all the qualities that we respect in people and which we would like to instill in children with various stories, conversations and lessons” Verkhovynets [8]. The author gives methodological explanations for children’s games with songs, offers a classification of games, emphasizes the repetition of well-known song-games in older groups, defines songs and games on various topics, talks about “punishments” during the game, about conducting in children’s institutions, about sheet music literacy in kindergartens, about learning mathematics in the process of playing, about the use of “Vesnyanochka” at school, about other forms of musical education of schoolchildren. In addition to the above, V. Verkhovynets substantiates the study of musical literacy during group singing, the importance of listening to music, the role of musical excursions and the role of the teacher during the game, offers a consistent and balanced method of teaching children’s songs-games, namely: how to form a circle and appoint actors.

In the following sections, the teacher offers games and songs according to the seasons: spring, summer, autumn and winter. This publication plays a significant role in both the aesthetic and moral education of the younger generation, because it has a positive influence on the formation of the personality, the formation of the artistic and intellectual sphere, promotes pluralism and competitiveness of the participants in the creative process. The collection includes author’s songs by V. Verkhovynets, folklore recordings by S. Drimtsov, K. Kvitka, A. Konoshchenko, S. Tytarenko, arrangements of children’s and adult songs made or recorded by P. Demutsky, P. Kozytsky, M. Leontovych, M. Lysenko, K. Stetsenko.

V. Verkhovynets recorded more than 400 Ukrainian folk songs and dances, wrote solo songs and duets to the words of L. Ukrainka, I. Frank, O. Oles, M. Rylskyi, P. Tychyna, H. Ryabokony, V. Chumak and other Ukrainian poets. He is the author of music for folk dances and theatrical performances, as well as the author of choral works written for various collectives. His composing and performing activities are permeated with deep respect and understanding of folk art, pride for Ukrainian culture and great love for it. 1919 saw the light of the first pearl of choreographic art in Ukrainian choreography, V. Verkhovynets’ monographic study “Theory of Ukrainian folk dance”, which substantiates the principles of building Ukrainian folk choreography, created on the folk basis of national folk ballet. After graduating from the Sambir Teacher’s Seminary in 1899, V. Verkhovynets worked as a singing teacher in the folk schools of Galicia. The young teacher tried to structure the singing lessons in such a way that the children felt like creators of their own lives. The teacher combined singing, movement and theatrical action in the performance of songs. Children could improvise and find means of musical and choreographic expressiveness in the reproduction of an artistic image. There was a synthesis of musical, choreographic and theatrical art.

In 1906, M. Sadovsky invited the young composer to his theater in Kyiv. As a lyrical-dramatic tenor, V. Verkhovynets performed the leading roles in the troupe of the M. Sadovsky Theater. Here his talent as a choreographer is revealed, it is not by chance that M. Rylsky called V. Verkhovynets “the wizard of dance”. Subsequently, V. Verkhovynets switched to the work of a conductor and collaborated with O. Kosyts, who influenced the development of a talented composer. This year, he writes well-known choral works, including: “Play, Kobzaryu”, “Oh, the fern has blossomed”, “Forest bells”, “More hope, brothers!”. It should be noted that V. Verkhovynets participates in the development of educational programs and methodological manuals, conducted ethnographic research, recorded Ukrainian folk dances and dance steps. His first scientific work was the book “Ukrainian Wedding” (1912), and later the monographic study “Ukrainian Dances” (1913) was published. From 1920 to 1932, V. Verkhovynets headed the Department of Art History of the Poltava Institute of Public Education. He is considered the founder of the faculties of preschool education and choral conducting in higher educational institutions.

The completion of theoretical and practical searches, ideas and plans of Professor V. Verkhovynets was the creation in Poltava of the women’s theatrical ensemble “Zhinhorans”, which presented a new original genre of theatrical song. The essence of this action is that the team performs songs-dialogues, game songs and dances accompanying them with movements. So, the talent of V. Verkhovynets lies in the fact that he was actively engaged in musical and educational activities, wrote songs for children and choral works, combined music, choreography and drama, synthesized folk dance with the technique of classical European choreography.

Discussion

Considering the above, it should be noted that the 20th century went down in history as a period of positive changes and qualitative innovations, as a period of significant changes in the development of musical and aesthetic education of children and youth, a period associated with the appearance of new figures in the musical and educational system of Ukraine. M. Leontovych, P. Kozytskyi, K. Stetsenko, Ya. Stepovy, V. Verkhovynets occupied a prominent place among the composers and musician-pedagogues of that time, who, with their hard work, contributed to raising the level of musical and aesthetic education of children and youth, to the formation of moral values in society.

Acknowledgement

We are grateful to the heads of archival institutions and employees of structural subdivisions for the opportunity to conduct research in order to study and generalize the creative heritage of Ukrainian composers and teacher-musicians who made a significant contribution to the development of the system of musical and aesthetic education of children and youth in Ukraine.

References

1. Ivanova L (1982) Pedagogical ideas of M. Leontovich. Kyiv.
2. Umanets V (1976) Pedagogical and executive activity of M. Leontovych. Kyiv.
3. Leontovych M (1920) Sheet music. A textbook for teaching singing in folk schools. Kyiv.
4. Protsik S (1987) Pedagogical ideas of P. Kozytsky. Kyiv.
5. Stetsenko K (1999) Initial course of music singing. National Central Bank of the Ukrainian SSR, Department of Manuscripts. Kyiv.
6. Fedotov E (1974) Studying K. Stetsenko's work at school. Kyiv.
7. Fedotov E (1977) Kyrylo Stetsenko, teacher. Kyiv.
8. Verkhovynets VM (1989) Spring night. Kyiv.