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Description
This study presents a conductor's guide to the Carpathian Concerto by Myroslav Skoryk. As a Deputy Head of the National Composers Association of Ukraine, a professor at the Tchaikovsky National Academy of Music and the Music Artistic Director of the National Opera of Ukraine, Skoryk continues to be active as

This study presents a conductor's guide to the Carpathian Concerto by Myroslav Skoryk. As a Deputy Head of the National Composers Association of Ukraine, a professor at the Tchaikovsky National Academy of Music and the Music Artistic Director of the National Opera of Ukraine, Skoryk continues to be active as a composer, teacher, and conductor. The Carpathian Concerto was composed in 1972 and was inspired by the culture and folklore of the west region of Ukraine, the Carpathian Mountains. Over the years the Carpathian Concerto has become standard repertoire for many symphony orchestras in the Ukraine. The author, himself from the Ukraine, performed this work in 2002, as a member of the Tchaikovsky National Academy of Music Symphony Orchestra, with the composer present. That experience was the inspiration for this study. This guide is intended as a score study supplementary from a conductor to a conductor, to aid in preparing a performance of the paper. The commentary focuses on issue of conducting, suggestions for score study, suggestions for interpretation and instructions to performers in connection with the rhythm, intonation, balance and orchestra placement. Programming ideas conclude this project, with short program notes provided for each program, in which Carpathian Concerto would contribute toward building a "theme" concert.
ContributorsIvanov, Lev, D.M.A (Author) / Russell, Timothy (Thesis advisor) / Hill, Gary (Committee member) / Oldani, Robert (Committee member) / Reber, William (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2012
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Description
It is no secret that the Soviet Union silenced the voices of many artists, but pieces of this history are still emerging—including the story of Ukraine's first female composer to achieve professional renown: Stefania Turkevych (1898-1977). Although the quantity and quality of Turkevych's compositional output should have established her as

It is no secret that the Soviet Union silenced the voices of many artists, but pieces of this history are still emerging—including the story of Ukraine's first female composer to achieve professional renown: Stefania Turkevych (1898-1977). Although the quantity and quality of Turkevych's compositional output should have established her as a major international figure, most of her work remains unpublished. Turkevych is absent from both Grove Music and Die Musik in Geschichte und Gegenwart (MGG Online). There is a clear need for English-language biographical materials about Turkevych and for publication of her works.

This document represents the first critical edition of Turkevych’s three-act chamber opera, Серце Оксани (The Heart of Oksana), commissioned in 1969 for the 100th anniversary of the creation of Canada’s Province of Manitoba (and its subsequent settlement by members of the Ukrainian diasporic community). The score is prefaced by brief introductions to both Turkevych and Серце Оксани as well as an explanation of editorial procedure and a critical report.

Lost Soviet-era voices carry particular social and political weight as present-day Ukraine reclaims an identity that moves beyond reductive “Russian vs. European” dichotomies, and solidifying that identity seems even more urgent against the backdrop of the current Donbass War (2013-present). This project represents the first step in a much longer-term effort to unearth and share Turkevych’s story and overlooked contributions as a composer, teacher, and lifelong advocate of Ukraine’s language and culture.
ContributorsGlenn, Erica (Author) / Schildkret, David (Thesis advisor) / Norton, Kay (Committee member) / DeMaris, Brian (Committee member) / Arizona State University (Publisher)
Created2020
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Description
What are the embodied educational experiences among students who were forced to migrate from war areas in Ukraine and study at Ukrainian displaced universities? Building on somatic literature and process philosophy, I developed embodied method of data collection and body-echo analysis to explore the complexities, entanglements and relationality of education

What are the embodied educational experiences among students who were forced to migrate from war areas in Ukraine and study at Ukrainian displaced universities? Building on somatic literature and process philosophy, I developed embodied method of data collection and body-echo analysis to explore the complexities, entanglements and relationality of education and embodied experiences in the context of forced migration in Ukraine. The goal of this dissertation was to learn about students’ experiences of forced migration through an essentially embodied learning processes that integrate mental and physical capacities. I believe that students learn through sensing their way through forced migration, accumulating layers of kinesthetic information hidden in their bodies. More specifically, the students in this study moved either with Displaced Universities from the war areas in Ukraine or independently in several waves or enrolled at the Displaced Universities to receive their education in mainland Ukraine at relocated Displaced Universities. The key insights include 1) uniqueness of embodied experience(s) of forced migration for each student; 2) invisible or virtual university spaces created by forced migration in Ukraine; 3) displaced universities created a virtual relational space in Ukraine where university is people not building; 4) somatic practice allowed an entry point into the safe space of talking about forced migration; 5) unique reactions of students to the somatic movement; 6) sense of belonging to space and people; 7) students’ insights very often remain unfinished thoughts and students at times lack the language to talk about their experiences; 8) students educational trajectories should be viewed as unique experiences even when factors are the same or similar; 9) war is a continuous background of the experience even if students move to a safe place in a different country; 10) humor and care have a visible supportive and healing effects in the context of uncertainty. For this reason, I bring embodied experiences of students from Ukrainian Displaced Universities into education, and I expand the limits of cognitive thinking, and focus more into embodied learning through sensing and relating to one-self and others in the context of forced migration.
ContributorsVitrukh, Mariia (Author) / Koro, Mirka (Thesis advisor) / Dinn-You Liou, Daniel (Committee member) / Fitzgerald, Mary (Committee member) / Sereda, Viktoria (Committee member) / Blue Swadener, Beth (Committee member) / Arizona State University (Publisher)
Created2023
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Description
By utilizing words, photographs, and motion pictures, this multimodal and multisited project traces a rhizomatic genealogy of Russian Cosmism—a nineteenth century political theology promoting a universal human program for overcoming death, resurrecting ancestors, and traveling through the cosmos—amongst post-Soviet techno-utopian projects and imaginaries. I illustrate how Cosmist techno-utopian, futurist, and

By utilizing words, photographs, and motion pictures, this multimodal and multisited project traces a rhizomatic genealogy of Russian Cosmism—a nineteenth century political theology promoting a universal human program for overcoming death, resurrecting ancestors, and traveling through the cosmos—amongst post-Soviet techno-utopian projects and imaginaries. I illustrate how Cosmist techno-utopian, futurist, and other-than-human discourse exist as Weberian “elective affinities” within diverse ecologies of the imagination, transmitting a variety of philosophies and political programs throughout trans-temporal, yet philosophically bounded, communities. With a particular focus on the United States and Ukraine, and taking an apophatic analytical position, I dissect how different groups of philosophers, technologists, and publics interact(ed) with Cosmism, as well as how seemingly disparate communities (re)shape and deterritorialize Cosmist political theology in an attempt to legitimize their constructed political imaginaries.
ContributorsGenovese, Taylor (Author) / Bennett, Gaymon (Thesis advisor) / Avina, Alexander (Committee member) / Messeri, Lisa (Committee member) / Josephson Storm, Jason Ā (Committee member) / Arizona State University (Publisher)
Created2023