The Instrumental Component of the Epic Genres of the Carpathian Tradition

If the context of the performance of ritual and dance music is described in detail in a number of monographs at the beginning and middle of the last century, then with descriptions of the existence of epic genres the situation is somewhat different. Most collections of epic songs contain verbal and musical texts, however, the context of the performance, the number of performers, and the instrumental component are not always described. The article is devoted to the epic genres of folklore of the Ukrainians of the Carpathians. The article examines the modern existence of such epic genres of Ukrainian Carpathian folklore as psalm, song-chronicle, ballad. The aim of the study is to show the epic genres of folklore of the Ukrainian Carpathians in the context of its modern existence in the Carpathian village and in connection with the instrumental tradition of the region. The study covers Eastern Galicia (Halychyna), in particular Galician Hutsulshchyna and Pokuttia (Pokucie), where the author's fieldwork took place. Modern field recordings of psalms, which were previously carried by itinerant lyre players, indicate that the works of this genre in some places have survived to this day due to their inclusion in the calendar tradition. Some of them are preserved as Christmas and Lenten songs. So, in the village Stary Lisets of the Tysmenytsa district of IvanoFrankivsk region, the psalm «About Stratenska Virgin Mary» about the siege of the monastery by the Tatars became a carol. In the Kosiv and Verkhovyna districts of Ivano-Frankivsk region (Galician Hutsulshchyna), songs-chronicles («novyny») continue to exist. This genre of Ukrainian folklore appeared in the 17th century. Songs-chronicles reflect historical events from the time of the opryshky movement to the present day and family and household dramas. In the village Khymchyn of the Kosiv region, the author of these lines was lucky to record two songs-chronicles – about Dovbush and about the First World War. The performer alternated singing with playing on a sopilka-dencivka. The author finds out ideas of the bearers of the tradition about the correct performance of songs-chronicles. The classical performance of chronicle songs is predominantly solo (one singer and one accompanist-instrumentalist). Folk ballads that exist in the modern Carpathian region can be divided into local and late ones, a significant part of which came from the Central regions of Ukraine in the 20th century. At the same time, part of the late ballads comes from the ancient ones that arose on the territory of the Ukrainian Carpathians in the 17th–18th centuries. Evidence of the 20th century and the records of modern collectors of Carpathian folklore show that the performance of ancient Carpathian ballads is close to the performance of songs-chronicles. Old Carpathian ballads are characterized by a declamatory manner of singing accompanied by a violin, hurdy-gurdy or sopilka-flute and a narrow ambitus. Old ballads are associated with individual performance and folk-professional instrumentalism. Nowadays they can be heard less often than late ballads associated with collective choral singing. To get a complete picture of the context of the existence of the ancient Carpathian ballads, it is necessary to interview the inhabitants of the villages where they were recorded in the XX – at the beginning of the XXI century – Kornych, Myshyn, Cherni Oslavy, Velykyi Klyuchiv and Kosmach.