University of Calgary

PRISM: University of Calgary's Digital Repository

Graduate Studies Legacy Theses

1998

Collection and documentation of Ukrainian folk songs

in Kalyna Country Edmonton, Alberta, Canada,
(1997)

Koszarycz, Anna-Marie

Koszarycz, A. (1998). Collection and documentation of Ukrainian folk songs in Kalyna Country
Edmonton, Alberta, Canada, (1997) (Unpublished master's thesis). University of Calgary, Calgary,
AB. doi:10.11575/PRISM/15337
http://hdl.handle.net/1880/26181
master thesis

University of Calgary graduate students retain copyright ownership and moral rights for their
thesis. You may use this material in any way that is permitted by the Copyright Act or through
licensing that has been assigned to the document. For uses that are not allowable under
copyright legislation or licensing, you are required to seek permission.
Downloaded from PRISM: https://prism.ucalgary.ca
 NOTE TO USERS

This reproduction is the best copy available

 THE UMNERSITY OF CALGARY

Collection and Documentation of Ukrainian Folk Songs

in Kalyna Country
Edmonton, Alberta, Canada
(1997)
by

Anna-Marie Koszarycz

A Thesis
Submitted to the Faculty of Graduate Studies
in Paitial Fulfillment of the Requirements for the Degree of Master in Music

DEPARTMENT OF MUSIC

CALGARY, ALBERTA

NOVEMBER, 1998

c. Anna-Marie Koszzarycz 1998

THE UNIVERSITY OF CALGARY

FACULTY OF GRADUATE STUILLES
l*l,",foNational Library Biblioth2que nationale
du Canada
Acquisitions and Acquisitions et
Bibliographic Services services bibliographiques
395 Wellington Street 395, rue Wellington
OttawaON K I A O N 4 OttawaON K I A ON4
Canada Canada

The author has granted a non- L'autem a accorde me licence non

exclusive licence allowing the exclusive pennettant a la
National Library of Canada to Bibliotheque nationale du Canada de
reproduce, i o w &SW&U'L~ Gi i.d --- A*-:.-.-.
IGpIVUULLG,
--24- A - ~ ~ lfi.1 ,
p S b w , r , d urvuvr u u
a ~

copies of this thesis in microform, vendre des copies de cette these sous
paper or electronic formats. la fonne de microfiche/fih, de
reproduction sur papier ou sur format
electronique.

The author retains ownership of the L'auteur conserve la propriete du

copyright in this thesis. Neither the
thesis nor substantial extracts f?om it
may be printed or otherwise
reproduced without the author's
permission.
droit d'auteur qui protege cette these.
Ni la these ni des extraits substantiels
de celle-ci ne doivent &re imprimes
ou autrement reproduits sans son
autorisation,
 ABSTRACT
COLLECTION AND DOCUMENTATION
OF UKRAINIAN FOLK SONGS IN KALYNA COUNTRY
EDMONTON, ALBERTA, CANADA (1997).
by Anna-Marie Koszarycz

194 Ukrainian folk songs were collected in the Edmonton, Alberta, Canada area in 1997. 115 were
retained for extensive musical and folkloric analysis and discussion for pedagogic purposes.
Seven hd~duak/coupIes,directly related to the k t wave of Ukmhhm immigrants arriving m C m d a
-
189 1 i 914, cmentJy living in Kdyna country, contriiuted to this study. Their contributions made it
abundantly clear that the singing of Ukrainian folk songs plays an important role in their daily Lives,
enhancing their ritual, personal, family and social lives.

Indications fkm musical analysis: melodies which have one or more pitch below the tonic accounted for
64.3% of the collection, 70% appear in a do scale - a scale of major character, the largest subset being
31 A O L - +Lo In-act
ionian m d e . or major scaie, the second i ~ g es~i iik i is Go hsaclul&u,
----t -4
Ld.7/U, U1* A U A ~ W
m-rp
J L grrur
-nrrn
we-y

is lyricaulifestyle/pefso~Vfmilysongs encompassing 30% ofthe collection; 43.4% of the folksong

exhibit a similarity to variants found in the Ukraine documents, specifically works by Filiaret Kolessa,
Lyra-Smma, and Zenowiy Lysko; 173% of the Alberta collection are quoted almost verbatim as notated
in Lysko. These seem to be the most stable songs in the collection. However, 56.6% do not find
precedent in Lysko. It appears that their origins have not been previously undocumented.

It is hoped that this collection may assist Canadian educators in selecting and including teaching repertoire
which more accurately reflects the reality of Canada's multilingual and multicultural composition within
musiclcultureflinguistic curricula, and that Ukrainian Canadian language instructors, and Bilingual
programs may enrich their culturaVmusiclcurricula using these Canadian pedagogical findings.
 ACKNOWLEDGMENTS

The researcher is greatly indebted to Professor Lois Choksy for her genuine warmth, encouragement and
thought provoking advice. She bas been a wise, precise and insighthl teacher/mentor, and a thorough,
patient superviser and editor of this research project Many thanks!

The researcher also appreciates and acknowledges the timely support, advice and encouragement of
Professor Malcolm Edwards assisting in the absense of Rofessor Choksy. Many thanks!

The financial and material assistance of the institutions listed here is gratellllly acknowledged:
The Royal Canadian Legion,Noxwood Branch #I78 Award for Ukrainh Performing Artst Edmonton,
Alberta; St. John's Institute of Edmonton; The Canadian Institute of Ukrainian Studies; Huculak Chair
of Ukrainian Culture and Ethnography in the Division of Slavic and East European Studies, Department
of Modern Languages and Comparative Studies, University of Alberta; residents of S t Andrew's Selo
..
t k r a m m Senior Citizen's Complex, Edmonton, Alberta.

WWmg, thorough and heardelt contniutions from these individuals informed this study. That folk song
retains this significance m their lives anests to their deep respect of tradition and joy of life, and is a t n i
to both their Canadian and Ukrainian origins. The researcher is honored to share their songs, their
observations, and their vision for Ukrainian folksong use in Canada.
Mrs. Nadia Shwaikoski
Mr. Bohdan and Mrs. Michalina Lena Tataryn
Mrs. Katie Zibrowski
Mr. Bill Labatiuk
Mr. Meroslaw M u q h
Mr. George and Mrs. Jean Bidniak
Mrs. Anna Zwozdesky
Mr. Taras and Mrs. Audrey Uiwyshyn and f b d y
 TABLE O F CONTENTS

-...---............-...--...-....
T i e Page...................................................................................... 1

Approval pages...............-............. . . . ..
.
.. -.....-........-..--.-....-.------ ll..
-
Abstract ........................................................................... ...... ..............-.....----.--...- iii
Acknowledgments......... ............................................-...- .......---
-..---......--....-..-.-..- iv
Table of Contents....,...........-..............-....-.
................-.................-.-
..........-.....-......---...-.- v

CHAPTER ONE: INTRODUCTION

A. Background
B. Problem
- ...........-.............--.....-..-
C. Sigdicance ofthe Study...........................-.
*

CHAPTER TWO:LITERATI,m REVIEW

A. Folk song
B. Methods of Folk Song Collection,Documentation and Analysis
C. National Culture in Ukrainian Folk song
CHAPTER THREE: METHOD AND ANECDOTAL INFORMAXON
A. Introduction
B. Method
C. Anecdotal Information
D. Commentary on Transcribing the Interviews
CHAPTER FOUR: THE INFORMANTS
A. Contributor Profiles
B . Pertinent Biographical Idomation
Mr- Meroslaw Muzyka
Mrs. Nadia Shwaikowski
Mrs. Michaliaa Lena Tataryn
Mr.Bohdan Tataryn
Mrs.Kay (Katie) Zibrowski (Dach)
Mr. Biil Labatidc
Mrs. Anna Zwozdesky
Mrs. Jean Bidniak
 C. Consolidated Responses to the Interview Questions 70
a). f o k songs which link directiy with the immigrant generation 70
b). folk songs learned m a social, cultural., religious group 71
c). singing in recent recollection 72
d). seasom, chores, activities at various times of the year 72
e)i) songs about coursthip and love 73
e)ii) marriage, weddings, anniversaries 74
f). children's songs 77
g). historical or patriotic songs 78
h). personaVfafnity Life 80
f) i.) dancing/partying 81
i) i.) h n y or humorous songs 82
j) religious or spiritual songs 82
k) traditional workplace 83
I) inappropriate to sing in public 83
mj f d y nageciy 85
n) concIusions drawn by the informants 86
CHAPTER FIVE: RESULTS OF THE SONG ANALYSIS 92
I. The Alberta Collection 92
11. Music AnaIysis 94
A). Tone set - A Comparison of Alberta Data with Lysko
( u ~ F *
.. by Zenowiy Lysko) 94
B). Mode - Discussion of the Alberta Data 95
C). Genre - A Comparison of AIberta Data with:
..
a) Kolessa - Ukraman Oral Literature by Filiaret Kolessa 98
b) Lyra-Surma - The Great CoIlection of Ukranian Song&
Lyra-sma I01
C) Lysko - -man
. . Folk Melodies by ZenoWiy Lysko 102
-
D). Variants/Mutatiom A Discussion Comparing Alberta Data with
Lysko -Folk
-. Melodies by Zenowj Lysko) 108
m.Commentary and Folkloric Analysis 109
CHAPTER SIX: FINAL COMMENTS 127
 A. Suggestions for Further Research
B. Philosophical Musings
BEBLIOGRAPHY
APPENDICES:
Contents
Appendix A: Consent form, (sample)
Appendix B: Questionnaire, (sample)
Appendix C: Part I: Comprehensive Music U y s k
Part II: Analysis for Genre
P- m: Analysis and Comparison for Variants
Appendix D: The Folksongs
 Page -1-

CHAPTER 1: INTRODUCTION

A- BACKGROUND TO THE STUDY

The history of I k a h h Canadians is relatively short. When in 1896 CLifford Sifton was added to the
Laurier Cabinet as Minister of the hterior with 11l authority to reform the inefficient Department of
Immigration, he stipulated that Canada preferred immigrants suited for S g r i c u M develop men^
* .
Canadian propaganda distributed by immigration agents wohing in the Western tlknmm provinces of
Galicia (Halychyna) and Bukovina encouraged people to come and settle m Canada There were three
major waves of Ukrainian immigration : 170,000 in 1886-19 M,68,OOO m 1922-1929, and 30,000 in
1947-1952 bringing immigration totals to 268,000. Reasonable estimates place the Chuman-
..
Canadian presence in 1998 at approximatelya million people.

* .
Ukraine is a region to which many Albertans are tied by heritage. The immigrant Ukramms brought
* h ~hn,slege,
k cu!hste i?nd life-styleto their new homes. Their preparedness for Life as Canad'i
reflected the lifestyle in their homeland, but also the degree of relative urbanization and/or
modemization within their homeland at the time of their emigration. Their reasons for immigration
coloured the immigrant experience and eventual acculturation The lifestyle that prevailed when the
f
hUkrainians left for Canada in the late nineteenth and early twentieth centuries reflected their
adaptation to particular circumstances. wnian immigrants who arrived prior to the Russian
Revolution of 1918, and the subsequent rise and fall of an independent Ukraine came to Canada
primarily to settle on the '%ee Ian&" offered by the Laurier government's search for agrarian workers
and sealers. After the experience of enforced serfdom under the Austrian and Russian empires, those
who were in a position, financiauy or enterpreneurially, or without other recourse, were enticed to
make this choice. On the other end ofthe spectrum, people displaced by the events subsequent to
World War II, who had experienced their early socialization during the Soviet Union's urbanization
and technological revoIution, often had only two hard choices to consider. One option was r e - p a ~ t i o n
(and probable S1'berian exile) by the Soviet authorities, the other, unintended exile and settlement in the
fkee countries associated with the Allied Forces. Individuals fortunate enough to have had suflicient
education or a trade were considered for immigration over ind'iduals who had (inWestern t e r n ) no
viable d e . The immigrant experience and subsequent sociaIization process undertaken by these
..
various Ukrarman immigrants in Canada is therefore complex.
Alberta is a pluralistic society in which members of minority groups maintain independent traditions.
Within the province, Ukrainian Canadians form a mature ethno-cultural group with Me recent
* .
immigration. The distinctive traditional architecture of the Ukmmm churches attests to the Lkaman
..
presence in many urban and rural communities in Alberta They are the home of many c u W and
social organizations. Organized community life has had as its goal the maintenance oftraditional
values and life style practices. However, recent low participation in these cultural organizatiom,
declines in the significance of traditional religious a£EIiatiom,and language loss have reduced the
obvious identifkg characteristics of the Ukrainiancommunityunity
Traditional agricultural based lifestyles
are largely a thing of the past m Alberta, Ritual practises and values associated with an agricultural
Westyle have been largely discarded. During the 1960ts, Canadian born individuals of Ubainian
background were encouraged by governmental policies regarding multiculturalism and revived an
interest in their heritage. Among other achievements, cultural and art forms which do not require
linguistic acumen such as dance, embroideryyEaster egg omamentation as well as music and culinary
traditions, have gained public acclaim and are widely accepted by the broader Canadian community-

ukrabian folk music of the Ukrainian Canadian population in Alberta has been removed from its
original context. Its adaptation to the Canadian environment has undergone many phases in
--
development. Several generations of Ukrainian Canadian musicians have combined Ulaarruan folk and
* .
Canadian western elements. The distinction of a Canadian-- folk-music style tias been
variously applied to generations of musicians, however a definitive designation of the point at which
this unique fusion of elements can be attributed to one or the other cultures has not been studied
exhaustively. The context within which such a music culture exists in Alberta exhibits a particular
image of the value system carried by individuals who singyplay, or appreciate this music.

..
By conventional estimation the descendants of the Ukmmm immigrants who have arrived in Canada
since 1891 now number well over 1 million Canadians. In 1981, Canada'spopulation was 24,083,500
and the 755,000 Canadians of Ukrainianorigin (3.1 percent of the t o w formed thefifrh largest
group, preceded by the British, French, G e m o m and Italians. 1 Immigration to Canada meant
hedomyand a new Life built through personal initiative. As the people that sertled much of the
Canadianprairies, fhqr lay claim to pioneer statusS..Because they senled in solid blocs, the early
immigrants to Canada have withstood assimilation...this homogeneity is reflected in the relatively
large number of Ukrainians in he third, fourth, and evenfifrh generation that still speak the
 Page -3-
language of theirforefolhers and participate in Ukrainian commun@ affairsr.

* . ..
Through its institutions, the Ubatruan Canadian community has made support for Ukramm linguistic
..
and culrural education a priority. Saturday schools, pre-schools, adult classes, Uknmum as a Second
..
Language, Ukrainian dancing, and clubs and organizations which function in the Llkmmm language
However, it is also possible to study Ukrainian as a subject
continue in 1997 to serve the communityunity
in public schools in Canada, and about 10,000 pupils do so. Recently, (early 1970's) bilingual
Ukainain-English schooling was introduced in the prairie provinces.2 Partly because of the interest
and efforts of the Ukrainian community, legislation mandating the implementation of linguistic
education programs for groups other than Canada's official languages was passed in the early 1970's in
Alberta. Similar legislation guarantees these privileges in Saskatchewan, Manitoba, and Ontario.

Ukrainian-English Bilingual education is provided in an immersion approach in these schools that are
obliged to meet curricular requirements of their respective school divisions. The linguistic component
is supported by curricular documents in the target language. Various rypes of suppori hive beta
.-
designed for these programs, including music curricula in the l k a m m n language. Music is taught to
children in Ukrainian-EnglishBil'mgual programs in lJkmmm.
.*

..
- Music in the UIcraln an Bilinaral Schools- Grades 1-3. The AIbem
The P r-o m for Teaching-
Educationwas published in its interim format in 1980. The Grade 4-
6 support document was published in its interim format in 1981. The preface states that the goal of the
teaching of music in the Ukrainian English Bilingual schools is to awaken a love ond develop
understandings of the unique characteristics of Ukrainianfolk music. The repertoire in this 244 page
..
curriculum guide consists of folk songs, contemporary compositions by thaman-Canadian
composers, children's songs Eom Ukraine and America, and songs found in Ukrahk language
teachers' journals, etc. The particular Ukrainian folk songs that were suggested for supporting skill
and concept development in these curricula were chosen primarily from volumes of folk songs
collected in Ukraine.

'Orest Subtelny, Ukraine: a History, University of Toronto Ress, Toronto, 1988. p.563

%id. 565
 Page 4
* .
However, there has been little if any systematic collection of tJkramm folk song for pedagogical
purposes in Canada* It must be underscored that the children attending Ukrainian language
development programs in Canada come primady fiom homes in which they are reared in a uniquely
Ukrainian-Canadian context, and they have essentially two mother tongues, English and UIaainian(or
French and Ukrainian as in Quebec). Todoy over 80 percent of the Ukoinion-Cmradanpopdation is
native born.3 This aspect of their cultural reality is not reflected m any program that a s m i s to the
wholesale importation of folk songs from Ulaaine. This issue may,in fact have affected the reasons
behind the continuance of the interim status of this essential teacher support document for the
Ukrainian language development schools in Canada. me child and the music must befinnly rooted in
the cultural reality of the child's own country.4

The simple fact that the above mentioned document remains in its Interim format some 17 years later
underscores Alberta Education's concern that the publication of this document, un-revised, may have
proven problematic. Music curricula for the province of Alberta have also changed since the
*
L ~ '--
~ ~--+':-- t ~ ~ ~ LE
nC+hd
L ~ ~ V
G L! e
Ulb A***. VmI Ie z t ~ ~
bl!lsic CurriculumQ&& in 1989. Given these two facts, the
teachers in the Ukrainian Bilingual programs, especially in Alberta, have been left without curricular
..
support in the area of Music Education in the tJhmm language, and are expected to desigo
appropriate music education programs based on their own professions1experience. Many teachers
therefore resolve to supplement their programs with thematic selections, consistent with their own
culturaYsocio-linguisticexposure. This may not always be supported by contemporary philosophy and
..
research regarding pedagogic practice. Although numerous Ukmman song collections are available to
teachers, their design reflects neither pedagogical practice in Canada,nor the cultural and socio-
linguistic reality of the students.

There has been massive effort to collect songs and the oral tradition of people speaking Ukrainian in the
homeland. Two samples of this work are anthologies referred to in the Literature Review of this
..
document, specifically the works of Filiaret Kolessa and Zenoviy Lysko. Although the first Ukmman

'~rancesSwyripa, Canada, Ency&p&.ia- Vol. I., ed. Volodymyr Kubijovyc,

University of Toronto Press, Toronto, 1984. p.344
* . * . . .
?lon-~oaarBjorkvold, The Muse W 1 b : Creatmv and Commwlcatlon Sona and Play &om
Childhood Through M a e translated from the Norwegian by William H. Hahrerson, ~arper-CO%,
1992. p.221
 Page -5-
immigrants came to Canada to make a new Life for themselves over a hundred years ago, the vestiges
of their ancestral culture continue to be valued by some oftheir descendents here in Canada The
manner in wGch some ofthese original pioneer families adapted to the Canadian environment, and
retained Lifestyle habits of their homeland influences even some fifth and sixth generation Canadians of
..
Ukrainian descent. However, little if any systematic coIIection of their Ubarman folksongs has been
undertaken for pedagogic or academic study. This is udortunate because Todqy over 80 percent of the
Ukainian-Canadian population is native born? Except for the pioneering efforts (firom 1960's to
1980's) of Robert Klymasz of the Canadian Museum of Civilization (who primarily studied folklore),
. - foIk song tradition in
M e formal ethwrnusicologicd research has been conducted into the Lkuman
Canada. Klymasz asserts that Musical traditions have been maintained infive genres: authenticfolk,
liturgical, classical, country, and pop. Folk music is the strongest and most popular of these, and
has retained in Canada archaic gestures and forms such as the ritualfolk song cycle and the epico-
balladic song. Field studies conducted during the 1950's and 1960's by Terjona Koshetz, Jaroslm
Rudnyckyj, Kenneth Peacock, Robert Klymasz, and others indicated thnt almost the entire Ukrainian
----2- w
folk music tradition had been re-estabiished in CUNUUU. r- +&- J , . --
. ...-
Q7nre t k i c --
+n&tion -
------ .
to
serve us a source of inspiration of otherforms of music making?

Historians and ethnographers agree that culture is a very difficult concept to study,because it is
constantly undergoing its own processes, which involve changing and adaptation to current reality.
Because the Ukrainain language is a minority langauge in Canada, the practical survival of linguistically
adept Ukrainian-Canadians is questionable. This is a pressing and relevant issue. There are, however,
other factors which exacerbate the trammission of trad-~tionalfolkoric and cultural elements through
traditiona1 channels. Succeeding generations are influenced by familial relations, urban versus rural
upbringing, social context, education and peer pressure which either enhance or impede the
transmission of traditional cultures. These broad issues are only a few of the cultural and lifestyle
practises which highlight differences between immigrant value systems of earlier generatiom and
today's society. Folksong is tenuously connected with all these lifestyle/cultural issues. However,
within the folk songs themselves are factors that enuwage their stability in the culture, as well as those

'~rancesSwyripa, Canada, Encvclopedia of Ukraine, VoL I ed. Volodymyr Kubijovyc,

University of Toronto Press, Toronto, 1984. p.344

6Robert B. Klymasz, Selected Articles 1963-1988, The Canadian Museum of Civilization,

Ottawa-Hull, 1989. p.136-7
 Page -6-
which encourage change. There are threads of continuity m every changing culture. Guttural dynamics
are discussed m ic by Merriam. The statement that c u b is dynamic is a
commonplace in anthropology, and it is equally applicable in ethnomusico2ogy. No matter where we
look, change is a constant in human experience: although rates of change are dz~erentiaIf;omone
culhn-e to another andj?om one aspect to another within a given culture, no culture escapes the
dynamics of change over time. But culture is a h stable, that is, no culture changes wholesale and
over night: the threads of continuiq run through every culture, and thus change must always be
considered against a backdrop of stability'

Multiculturalism is a fact of life in Canada whether or not one chooses to acknowIedge the political
precepts which have made it possible. Even the word multiculhrraZism has come to represent a serious
point of contention in certain academic and so&-political circles in the 1990's. It evokes tension and
contradiction. But Canadians live a multilingual/multiculturai existance without obvious racid, and
religious or ethnic conf?ontations. There is a practical, every-day acceptance of Canada's heterogenous
population. To better understand Canada, is it necessary to acknowfedge the practise of tolerance and
acceptance which affects every aspect of Canadian Life.

Judicious inclusion of music selections which represent the cultural influences felt or exhibited in the
class population validates, and even in some small way illuminates, and makes accessible the human
experience shared in a variety of locations and populations in the world However, although
"multicultural music", "diversity", ''world music" and "mclusiveness"have ail been catch phrases for
general music teachers inthe Iast two decades, the music of Canada's more predominant, but still
minority immigrant cultures has not truty permeated the music series textbooks or curricula A study
designed to explore how song repertoire has changed over the last twenty years, conducted by Sharon
Hawthorne, demonstrated that songs fiom the regions of Western Eumpe and North America continue
to be predominant in music textbooks and curricula8 Songs representative of the Eastern European

''Alan P.Merriaui, The Anthropl~gyofMusic, 1967.p.303

%hannon Hawthorne, Songs in General Music Cfasses - Any Changes in TwenfyYears?,

(General Music Today, MENC,Vol. 11, No. 1, Fall 1997) p.28
 Page -7-

regions, and therefore representative ofthe Eastern European American Ethnic Heritage represented a
scant 1% of the song selections in song repertoire publications both the 1974 and 1995. While it can be
said that general music teachers have access to a wider variety of non-western music fkm which to
choose, it is also true that the selection process demonstrated m publications targeting general music
instructors clearly does not adequately reflect the musics of Canadians of Eastern European ethnic
heritage. When teachers of music do not consider including quality music which m some small way
addresses a cross-sectional representation of their class or school ethno-cumual population, their hard-
won competence in a specialized field such as music is compromised. There is an increasing demand
to teach music fiom a broad historical and geographic perspectiveeg

In many ways, Canada's pluralistic social environment continues to reflect the pkysicd, cultural and
social value systems of its pioneer generations. In the specific case of the Ukrainian Canadian
immigrant group, folk traditions that have survived thus far have responded to a w a n d e ~ political
g
agenda, and have at times even flourished. Klymasz and his associates have asserted that the musical
tradition of W i a n Canadians retains archaic gestures and forms rdecting the ritual folk song cycle
and the epic ballads of the homeland. This music exists in many variations, has been transmitted orally,
and has undergone variation. Some elements of these songs have been utilized in creating uniquely
Canadian-Ukrainian forms of entertainmenf recordings, and compositions. Some songs may have
been lost, but others have been retained to reflect the Lf:of Ukrainian Canadians. If almost the entire
Ukainianfilk music tradition had been re-established in ~anada,"and this continues to be true in
1997, then these elements have retained some of their value even in todays mixed social and cultural
environment They should comprise some portion of the music education program for this linguistic
group, and should have a place in the music education of Canadians in generd.

Music open plays a vital role in rituals, ceremonies, politics and sociol control. I . may also be
involved in many other aspects of humon lifp. Since human groups m e continuuIly in a process of

%ao Huang, Music Appreciation Class Broadening Perspectives, Music Educators Journal,
MENC,September 1997. p.29
 Page -8-

chmge, it i s necesary to have some idea how music chunges with time, and what factors may institute
or prevent change- occurrng." When a given immigrant gmup scc~mmodatesand adapts to t
k
dominant culture, and yet chooses, over time, to continue to include a stable selection of specific folk
songs within their musical repertoire, these threads of continuity reveal a rich image ofthe value system
and personality ofthat group of people.

"Marcia Hemdon and Norma McLeod, Music as C u l m , Norwood Editions, Norwood, Pa.,
1979. p.22
 Page -9-
B. PROBLEM
Given that over one hundred years have passed since Ukrainian people began immigrating to Canada,
and given that certain aspects of their culture have adapted and acculturated to the North American
environment;
.
1. Which Ukr;wlran folk songs are being sung today by members of the Ukrah.h
Canadian community in Kalyna count^^ circa 1997?
2. What songs fkom the old tradition have been retained?
3. How have these been varied and changed h m the well documented Lkaman
..
versions?
4. What are the musical characteristics of traditional folk songs in Ukraine? their modes,
meters, rhythms, melodic turns, etc.
5. Do these same characteristics appear to have been retained in the surviving Ukrainian
Canadian folk songs?
6. Which of these songs may prove viable for inclusion m school curricula?

C. SIGNIFICANCE OF THE STUDY

For music educators within the linguistic group this research is signifcant because the quality of
language and cultural programs in the Canadian environment can be enhanced when the teaching
repertoire of folk songs reflects current value systems within the culture. Also, educators may more
adequately and elegantly validate and value contributions of Canada's multicultural community if the
song selection process more accurately reflects the contemporary value system of the target linguistic
group. Considering the characteristics of the songs which have either survived or adapted over a
period of one hundred years of assimilation, educators may from this vantage point may consider which
types of songs or characteristics might continue over time to appeal to a gradually assimilating body of
minority language speakers and the reasons why.

To design curricular support materials which reflect the cultural and linguistic traditions of U h i n h
Canadians separated from their cu1turaYnative homeland for (in some cases) over five generations it is
necessary to continue searching for qualiry music teaching materials h m within their current reality. It
 Page -10-
is also hue that music educators need these songs because the best song materials for Canadian
children in schools are Canadian folk songs, an inclusive collection accurately reflecting Canadian
multicuItural society regardless of the linguistic or cultural majority. Many musics have intrinsic value,
and though the only good reasonsfor choosing anything ore that it has musical potential-..and is
within the vocal and emotional range of the students12,music teacbers ako need song materials which
validate and value the socio-cuIW context under which fbture citizens of this country will operate.
When a given immigrant group's songs can play a part in sharing, with all Canadians, the human
adventures involved in (for example) bringing settlement and cultivation to Canadian prairie farmlands,
and their place hss been taken by songs relating the American experience because of the language and
not the real context, then perhaps other fonns of criteria for inclusion need to be examined. Perhaps
Canadians need to know the true story of their fellow Canadians. Perhaps these types of songs could
then help to demonstrate our national maturity better than imported songs about "paw-paw patches", or
other such songs which reflect foreign geographic locations and culturalllifestyle reaIitied3 Perhaps a
re-consideration of goo& musically appropriate, well researched folk songs found in Canada,
--
pccc?qx&x! by appropriate; attractive literary-poetic translations is necessary to the inclusion of these
songs. Ignoring potentially valuable teaching resources in yet unresearched immigrant ethnic
communities in Canada is unacceptable. Canada is gene@ unknown us a culturd entity. This is
unfortunaze because the lode is rich and a country's cultural assets are her most lusting contribution
to civilization.'

'?David J. Elliot, Music Matters: A New Philosophv of Music Fducation, Oxford, Oxford
University Press, 1995. p.247

Johnston, Folk Sones North America Sines, E.C. Kerby, Ltd., Toronto, 1984.
'3~ichard
pp.278
 Page -1 1-
CHAPTER 2 LITERATURE REVIEW

A. FOLKSONG
Ethnomusicology is the srudy of music in the context of human life. Ethnomusicologists underscorp
the fact that music and music making are vehicles for the culhid transmission of thoughts and actions
learned through centuries ofadaptation to the natiaal and human world. The study of how groups of
people express themselves and make sense of the world, involving the study of their music making,
songs and rituals is important to society's understanding of how traditional cultures change and adapt.
The legacy of the past influences Canadian culture today.

Folk songs are generally songs of unknown authorship passed orally fiom generation to generation
They may or may not be sung with accompaniment Variations in words and tune reflect regional
preferences. Generally folk songs have their origins in country We. With the advance of civilization,
foIkforists,musicoIogisa and ethnornusicologists have led major campaigns for folk song collection and
preservation. Folk songs enshrine the national characteristics and the regional culture of the people.

Folk music, like speech, is a vehiclefor communication, and as such, the two share severalfiafwes.
ebth are non-tangible, elusive and constitutefleeting moments of sound production; both con be
encoded (recordedi'decoded) with the help of print, mechanical devices and/or human memory.
However,folk music, unlike speech, is always intentionally emotive in mture; again unlike speech (
and most other aspects offolkloric behavior)folk music is, above all, a superb and ofien o more
effective outletfii the expression offeelings, emotions and sentiments that ishhen expressed in other
forms, could/would seem embarassing, impertinent, boring or somehow improper. An important
aspect of traditional music-making isfolk song ondfolk singing. Whol distinguishes this particular
medium is its unique combination of music plus poetic language and articulated imagety. As a
result, everyfolk song has the potential ofproducing a spiking, irresistable and oesthetic~&rich

''Jeff odd Titon, General Editor, Worlds of Music - An btroduction to the Music of &
World's P e o ~ I eSchirmer
, Books, New York, 1984-
 Page -12-
message. l6

Folk song is intimately related to the evolution of a people's language, their culturaUy based beliefs,
aspirations and ideals. Folk songs use the language ofpeople in specific ways. Developmental
leaning theorists like Piaget had a stage called the symbolic stage where you Zemn how to think
semio~ically" He theorized that the set offimctions thal make it possible to designate an object, a
c h s of objects, or even meanings and concepts by something else': called semiotic fimctions are
powerfit1 tools which have guided the development of the human intellect Natural phenomena have
labels and are associated with names. These names and labels operate primarily in a literal sense, only
touching the surface of a deeper significance attached to these names in their cultural context. Names
indicate an intricate symbolic relationship between objects, and their cultural significance. The
linguistic context wherein these names are used reveals a level of codification of concepts which is
culturally specific to a group of people. The names, labels, context and significance of ideas or
concepts have historic origins which have evolved over time. This progressive constraction in which
t h e r ~ir o continual interuction between perception, the subject's activities, and his prior knowledgelg
is a process by which knowledge is constructed. The construction of a complex and flexible
operational system involves active acquistion, and prrrposefU1 use of this information. Therefore, the
passing of knowledge, the sharing ofpower over its naming, and the evolution of the name's place in
the language demonstrates the highly specialized nature of human intelligence. And therefore, when
music and text are combined in song, a unique fusion of powefil eIements occurs.

Over time, Ukrainian folk songs which have a pre-literate origin accumulated a wealth of meaningfbl
words which formed the basis of the song. In many ofthe old songs in particular, the symbols,runes,

'%ohclan Klymasz, The Role of Folk Music, Selected Articles, 1963.88, p.85.

"Howard Gardner, Music as Intelligence (Kodaly Envoy, Vol. XX.No. 1, Fall, 1993)p.15

'a DTOZand M. Rahmy, Understanding Pia~efNew Yo& International Universities Press

Inc., 1976. p.85
 Page -13-
or mystical ritual words provide coded or veiled inforrnafiRnafion
about the world.

In the traditional setting, this literacy of the cultural fabric is associated with power and as such, a
particular strata of society is accorded supremacy over the passing ofknowledge. Kosharky
(midwives) and mushky (matchmakers) are titles of two such d e s (lab& used in the Ukmman
- 0

community being studied) associated with the continuance of ritual knowledge. The concepts and
accumulated We-knowledge represented m the symbolic language associated with these roles attests to
one of the most imporrant principles of the occarion: that ofrhe presence within music of ideas which
ore too dangerous to handle. These ideas are therefore symbolized and ritualized within folk song.
Few uninitiated individuals develop the "enhancedbracy"to understand the deeper, hidden messages
within the folksong.

EthnomusicologistFiliaret Kolessa has stated that oral tradition plays a foundational role in the
development of literacy, and a powerful force in the shaping of social values. Ukoinianfolk songs
ond epic historical songs ofler incomparable examples ofpure folk language and poetic expression,
they awaken love and respect to the native word, stand us n powerful connectingforce bemeen
milZions of Ukoinianpeople, binding together disparate sections of society as iffhey were blood in a
living organism." As Zoltan Kodaly once wrote, the most perfect relationship between language and
music is to be found in the folksong.

Folk songs are closely related to the practical side of Life. Thought and image are related with the
practical goal, and the prevalent general outlook on life is connected with the work ethic, singing about

?Marcia Hemdon and Norma McLeod, Music as Culture,Norwood Editions, Norwood Pa.,
1979. p.22

?ZoltanKodaly, n e Selected Writings ofZoltan Kodab, trans. Lili Halapy and Fred
McNichol, Corvina Press, Budapest, 1974. p.173
 Page -14-
it, and the rhythms used. The connection between practical life, conception and image, ritual action
and verbal text, is evident in ritual songs ofthe popular calendar cycle, arid other such customs. Words
never exist by themselves in the ancient oral literature, but are always connected with ritual action. The
refation of one image to another is h a y s an expression of the relation between conceptions of the
world. Words and ritual action are always directed toward practical, utilitarian aspects of Life. In this
way, traditionplaces a limit on the creativity of the performer, beyond which he cannot pass. As a
result, the role of the individual is not the same in the creation of the ancient oral p e e as it is in
that of modern "artisticfolklore" and in literature. The essence of the changes in oral Iiterature lies
in its separationporn the concepts on which it was orig'naIIy based. As the identity of the outlook on
life,folklore, and practicul goal disintegrates, he unity of conception, image, ritual action, and word
is destroyed. With the change in the outlook on life, thefolklore also changes and the expression of
the outlook on lifie loses its meaning. The verbal images are torn awayfiom the oorigizal ideas and
rites and as the concepts and practical motivation on which they are bused are lost, they acquire new
ones and, based on these, they either die out or become adapted and begin a new Cife. Folklore
.*:~cL:zzt i!z c!r!rite or its pr~1rriQlp a l becomes "artisticfolklore". The ritual and practical meaning
ore crowded our and the esthetic performance becomes dominant."

Folk songs have a very significant function in any culture. The content of the lyric as well as the
context of the music and their unique fusion contains fundamental attriibutes for living within the
particular life style. Folksong is a socially supported activity in which new participants have the
opportunity to observe community members in various stages oftheir processing of new learnings
encapsulated in the folksong. Learning strategies are demonstrated through enjoyable, and successfil
social experiences. Social values are shaped. The development of a context and process for the
singing of folksongs is an ongoing life strategy in which meaning is constructed. The culture is
constructed. The concept of life itself is broadly painted in each ofthe folksongs, and when people
participate in their singing, they at once, and with minimal support, are given the opportunity to absorb
a myriad of life strategies which mediate successfbl Life.

U ~ Petrov,
. Om2 Literature of the People, m i n e : A Concise Encvciooaedia, Vol. 1, p.350
 Page -1 5-
are born. They
The place of folksong in developing knowledge begins almost the moment chilcke~~
discover the language of their culture, and begin to c o m e t symbols with their meaning, and proceed to
absorb the rich life experiences of their ancestral heritage. Through vicarious experience, folksong
provides an interactive experience with the language system a s it has developed through the ages. If
folksong is valued as a product of consequence in u porticulw cultural setting or communifl, it
demonstrates that the creation of a culturalproduct iF crucinl to suchfimctions us capturing und
transmitting knowledge or expressing one's view orfeelings.

The North American experience has essentially decontextualized the complex process for life learning.
The network of strategies which served generations, involving the interactive folksong exerience, has
for the most part implicitly or subconsciously been discarded as a foundation of Life learning. Meaning
cues relating life experiences that make sense to the participant, structural syntactic cues intimately
related to the form, context and content of the folksong, and visual cues and symbols which engage the
thought processes involved in the experience, have been supplanted by a media culture which caters to
$2 ;Ln, sskf)'. Extremely simole. oftimes simplistic or sensationalistic
!svvcst CSF~.T?C~de*m~"At,c!r
responses to the human experience are bombarded into the social fkbric via the multi-media resources
currently available. They draw on those elements of culture which are considered common, for their
ongoing financial success. The foIksong, however, requires focus, intimacy, and human connection.
Folksong teaches the participant how to think deeply and poetically about We, while attention is
diverted to the socially supported enjoyable experience of singing.

It is essential to the folk song process that singers receive support and guidance in the pursuit of life
knowledge through singing. This is why strategically placed cultural leaders can empower, verify and
clarify the experience. The folksong experience generally has, in every culture, provided a w e w o r k
of meaning which supports the problem solving experience called life. Meaning continues to be
constructed throughout the process, which is why improvisational forms continue to be fundamental in
the culture as a self-extending system of sharing knowledge.

Gardner, Multiple Intelli~ences*The Theory in Practice, New York, Basic Books,

24~oward
1993. p.15
 Page -16-

Culturally stabIe folksongs are able, within the eddy literate population, to fuse lyric and music so
-
as to express emotion, to evoke an aesthetic response. Folk song is i n t e n t i o w emotive an excellent
outlet for sentiments which even the culturally Literate singer may deem inappropriate for public
company in any other mode of delivery. Certain songs do have a more intimate context. Over time,
certain generational differences in cultural literacy mediate, and even exacerbate choices evidenced m
repertoire chosen as folk song- Individuals choose those musical expenaces which express sbared
meanings and values held w i t . a social group with whom they identify most, but most significantly
reflect their current reality, their current state of mind, especiaily their psychic state of mind. However,
certain philosophical and developmental questions regardimg the place of a d literature within the
culture continually mediate taste and subsequently choice. A s modem people try to locate themselves
in a world that is changing with bewildering speed, theyfindmusic especially rewarding, for music is
among the most tenacious cultural elements. Music symbolkes a people's way of life; it represents a
distillation of cultural style. For many, music is a way of life.=

. t ~ 'p kUG iii

WYmt p
-1 -' '
UKU :r'---
*t-L v t a -a- - 4 I - t ~
~ ~ C lL
r
bUIl *
W ..
=tht
--rrc -, - ---
thw helitwe,
. AsApc&of human behavior which have
evolved over time often retain a pattern, and these pattern and behavioral alterations are often
accompanied with music. This aural tradition is often one of the most highly patterned forms of human
behavior. It he@ in the staging of certain aspects of human behavior, and ritualizes, formalizes and
organizes human behaviors around what is considered cu1turally significant Life experience. Once
rituals are established, they become embedded in the cultural fabric of a people. People are often SO
embedded in the practical applications ofthese rituals, that they themsehres do not notice the pattern
involved. There is a core of understanding shared by the participants which is intricately tied mto the
communal We. The elaborate patterns oftheir folk activity, their subtle understandings of their own
folkways, their aural tradition, their music ir nested within often elaborate sets of activities that
coincide at Q given time and place. In a sense, all music-making is ritual, involving place, time.
dress, symbolic behavior, and rolessz6

ZS~eff -
odd Titon (gen. ed.) Mark Slobin, Worlds of Music An Introduction to the Music of
fie World's Peo~les,Schinner Books,New York, 1984. p.xv
 Page -17-

One of Ukraine's most recognized etlmornusicologists, Filislet Kolessa, in 1938 wrote that, by his own
..
classification, the Ukmnm oral folk music tradition encompassed incantation, ritual songs (including
the calendar cycle and marriage rites), funeral laments, dumi (an epic genre), historical songs,
tradesmen's and craftsmen's songs, songs of personal and famiIv life, daoce songs, ballads, humorous
songs and parodies, religious songs and mendicant songs (songs begging for charity). Kolessa,
underscoring the significance of ethnomusicological study, says one cannotforget that the oral
tradition is the result of spiritual development of many ages and is the especially valuable cultural
accumulation of the Ukrainianpeople. richly endowed with ideas of humanity. selj-reliancr, and love,
developing and elevating all which is only good and bearliful in operson's soul, nurturing a
sensitivity to beauty, culttira2 awareness and historicaZ traditions - overall enlrghtening and
educating the village masses. therebyprotecting themfiom long periods of inadequate schooling
and illiteracy. n

These songs all have had a place within the cultural context, reflecting fundamental attributes
kp!kit!y tlyr ~uhconsciouslyneeded andor valued within the population. The a d processing of these
features embedded in the folksong is a complex learning task, one which is mediated by the relative
state of a community's literacy and contemporary cultural development. Although ethnomusic~logists
justifyably concern themselves with the loss of a historic tradition of oral transmission of W s wisdom
through s o ~ grituals
, which lose their meaning or their sense of communal purpose are eventually
abandoned for rituals which hold their significance over time. Music @en plays a vital role in rituals.
ceremonies. politics and social control. It may also be involved in mony other aspects of human life.
Since human groups me continually in a process of change, it is necessary to have some idea how
music changes with time, and what factors may imtitute or prevent changesfrom occuring?

'8~arciaHerndon and Norma NcLsod, Music as Culturg, Norwood Editions, Norwood, Pa.,
1979.
 Page -18-

B. Methods of Folk Song Collection, Documentation, a d Analysis

Research in the areas of ethnomusicology and the music history of cultures has been almost completely
dependent on technological developments. Shelemay " stresses the extraordinary impact of recording
technology on the discipline, its methods and materials. Nett1 concurs with the significance of sound
recordings in collecting and preserving musical sound, as an aid to the analytical process and as a
source of sound archives. The earliest days of&omusicologicd scholarship revolved around the
phonograph, then commercial magnetic tape m d e s took&e fore, followed by the cassette tape
revolution. However, today technological dmehpents &brd researchers the opportunity to collect
and preserve not only sound. With portable and~o--trisual
r e a m k s such as video taping machines,
contemporary researchers have the additional advantage &seeing the interview again in order to make
qualitative judgements and analyses. Accessing another ofGardner's multiple intelligences - the
interpersonal intelligence - the capacity to discern and respondappropriakly to the moods, motivations
and desires of other people can only produce a better, more complete study.

- .- . -
Bruno Neal explains h e p r -w ---- --- ---
---~- LaL ~V--AV~L~Y &-.s ---
c &~'hin,e
m ~ t h d fnr music: systematic,
intuitive, and selective. The systematic aproddescribes all elements afa song: melody, rhythm,
form, meter, harmony. Identifying and analyzing ihe most striking element of a particular piece of
music or musical style is considered the b t d i v e approach. The selectiveapproach describes one
aspect of a group of folk songs?

Ilmari Krohn's (1893-1933) years of meticulous resean:h, which led to his monumental multivolume
collection of Finnish folk songs, Suomen Kansan Savelm5a3'( M e l d i of the Finnish Nation,

tive Musicolog and AnfhromI= of Music - Essavs o

29~ompara
edited by Bruno Netl, and Philip V. Bohlman, The University of Chicago Press,
Chicago, 1991.

%rune Neal, w y and Method in Ethnomusicoloq, The Free Press of Glencoe, Collier-
r
M a c d a n Limited, London, 1964.pp. 133- t 39
C ~ K ~ MenonF,Tom. I ~ O U ~ ~ H HYKKHP, ~..~ H C ~ K ~
b ~ ~ , (1967) Y K D ~ ~ HHamnni
3 ' f l ~ ~3enosiii.
6inbna A~ueniflhay^ y CUlA, Hi0 h p ~pisko,
. znovii.( 1967) IJg&&J,Nar& Melodl1. T o 4
J Pokazniki. Ubaiins'ka Vil'na Akademiia Nauk u SSHA, New York] * p. 11
 Page -19-

published in Helsinki], served as the impetus for the evolution of one example of the systematic
approach. He systematized the corpus by grouping melodies with identical cadences, and then within
the unit to the cadential subdivisions of the smaller parts. Bela Bartok ,and Zoltan Kodaly modified it
for use in classifying folk music collections liom Eastern ~ u r o ~FiIuret
e . ~ ~Kolessa, the most
prominent researcher of Ukrainianfolk songs, makes use of a similar system in his i.publicatiom?3
(among which number the works m the Lemkivschyna collection), although his enormous legacy is not
without its problems. He is so closely tied with issues of text that he developed a system in which text
a .

use demands take precedence over metrical barring of the music. The LJlaaman Folk Melodies
anthology by Zenovj Lysko makes clear that the introduction of W e r specific systemization
..
principles are based on the Krohn-Bartok-Kolessa method? In the UIwuuan Folk Melodies
anthology, Lysko makes use of this system which looks primarily at melody. The melodies are
transposed so that the last melody section ends on gl ? The pitch of the end tones (caesurae) of the
other melody sections are labeled. In the system used by Bartok, the melodies are classified in order of
the number of sections in the tune: four, three, or two section melodies. The main caesura of each
=e!cJdy is p-phkally symbolized so that the height of the main caesura determines the basic sorting.
The rhythmic structure is then organized in terms of isometric or heterometric melodies, and f m the
tunes with narow range are listed before those with wider range. Once the individual songs are
analyzed, the corpus of melodies is descnied as an anthology collection.

Many collections of folk music published in Canada are analyzed for pedagogical purposes, meaning
that each song is analyzed systematically. Richard Johnston's Folk Sones North America S i n ~ is
s such

3%rtok - Das ungarische Volksleid. Vesuch einer Systematisierung der ungarischen

Bauernmeldien (The Hungarian Folksong, An Attempt to Systemize the Songs of Hungarian Peasants,
-
Berlin, 1925) and Kodaly - published in the massive six volumes known as The Corpus Musicae
Kungaricus

"0p. sit p. 20

3*~ys'ko sometimes acknowIedges tonality however, and does not keep strictly to the rule of
tinalis g1, as in #8525, where the melody ends on the third step of the tonal tonic (ie. B Absolute).
 Page -20-

a collection. Over 100 songs are notated completely. Each song is analyzed for form, phrase length,
w g e , scale, syncopation, anacrusis, rhythmic specialities, intervallic specialities, scale degree
emphasis and introduction of fa or ti. Each descriptive text lists d notes of the song in solfa The
analysis is completely cross indexed.

Shmyn Favreau used a method of song analysis which developed out of the above mentioned work of
Bartok and Kodaly. In her thesis An Analytical Studj for Pedagogical Purposes of French-Canadian
Folk Songs us Collected by Marius Barbeau, each song was analyzed for tone set, scale, range,
rhythmic set, rhythmic patterns, metre, form,cadence notes and phrase stress. The complete text ofthe
song is included after the analysis.

C. National Culture in Ukrainian Folk Song

Herder?one of the great German philosophers of the 1800s believed that language was the most
imp- --
C= U I-~ ~ ~ U U C
----4 -c--Gn--
II U
"
l ~ ~ ~ ~ L C C I A
. L ~ I --
w h ~ l n t i o nof culture. when c o m b s
philosophical revolt against the controlling rationality and uniformicy of empire builders, gave rise to the
concept of national characteristics, wid national identity?

The French Revolution, with its radical republican ideas engendered, in the educated beaurocrats and
nobles, a sense of estrangement fiom the empire, and imperial elite as an establishment The impact of
this, as well as Herder's philosophical concepts regarding national culture, clearly inspired the writings
ofthe evolving Ukrainian intelligentsia including authors Panteleimon Kulish and
ethnographer/historianMykola ~ostomarov." The synthesis of national culture was explored in
written works by Taras Shevchenko, Ivan Franko, and Lesia Ukrahka. All these giants in Ulaainian
literature were instrumental through their ethnographic studies and writings, in illuminating a national
consciousness imbued with folkloric cultural distinctiveness.

MorestSubtelny,Ukraine A History3University of Toronto Press, 1988. p. 224-242

 -
Page -21
In Eastem Europe comprehensive folk music research began with fieldwork and publication of folk
songs. Academic research into Ulaainianfolk song was actually begun by Vasyl' Truchnovskj (1 74%
18 1o)? As early as the 1830's in Ukraine, ethnography was becaming a leading discipline that
documented the history of the people - as created by the people. The peasantry was identified with
nation, and nationhood. Sociqolitically and philosophically it was in vogue to believe that the noble
classes were spiritually and rnaterhlly non-creative, while the average person the person of peasant -
stock, who spoke the language of the people, created and preserved the national spiritual and material
values. Following the influence of M, Glinka, Slavic composers such as A. Serov, M. Bdakirev, M.
Lysenko, N. Rimsky-Korsakov and others collected and arranged folk melodies as an element of their
professional research? The culture of the masses delineated the impact of an agricutural life-style and
the conditions of Life. At first, folklore collections began to focus attention on a fsst passing oral-
musical tradition - the duma, an epic genre. Folksongs, many of ancient origin, expressed the
peasants' concern with nature, their work in thefields and their personal relationships. Theypraised
such simple virtues as hard work and honesty, while deriding immoral or s e m behuvior. The
nss-Jh r-n*h*ih J*~ring !
GpIbU##bD CljjV6rb ~8 r u b . 6!h =& 17ficpnfgrfesWQZ the duma or folk epic. Dumy were
re-, -.re re.

recited to the accompaniment of the bandura ( a lutelike instrument) by wandering minstrels during
market days or religious holidays....these lengthy versified tales concentrated on.... the resistance
against the oppression.. The spiritual history, originality and creativeness of the people as it
appeared in the language, poetry and myths of the people was increasingly considered uniquely
valuable to the nation and nationhood.

A decisive influence on the development of Ukrainian musical culture was made by Nicholas (Mykola
Vitalievich) Lysenko who was influenced by the newly emerging interest in folk music and folk He

3 8 ~ a ~ k l uhl1iI-i.
b~~ ~, i
(1963)
a~inposaXBH~R,Mlo~xe~ pudnitskii,
. Antin. (1963) 1
i' 1
Geschichte Der Ukrainischen Musik, Dniprowa ChwyIa, Munich.].**p .38
3 9 1 B W ~ ~ ~ b ~A.,
C ((1991)
fi, Y K D ~ ~ H~CU ~~ KW~W
Hawnnn
H ~ Tsoorlicn, M y ~ v n Y~pabia:
a Knb.
UvanitsW, A, (1991) Ikiins'ka Muzichna Narodna Tvorchist', Muzichna U k r a h : Kiev. p.21**

%rest Subtelny, W i n e A History, University of Torcmto Press, 1988. p. 122

 Page -22-

conducted research into the old historical songs (the epic genre called dumas), and documented what
he referred to as the essential features of Ukrahim folk song, its rhythmical, tonal and bmmmk
peculiarities. With the 1868publication of his first collection of Ukrainian folk songs collected during
his years as a student, he gave o definite foundation to the study of Ukrainianfolk music4'. He used
the emergent features m his many compositions. M. Lysenko was one of the fkst who began publishing
variations on folk melodies, and as such places his work within the realm of musical-ethnography.
Pedagogical requirements for the recording of folk melodies, (critical school expectations) were
developed when Lesia b i n k a , and her husband K.Kvitka financed the audio recording of the
abovementioned Ukrainian folk dumi. Klement Kvitka wrote prolifically about folk music.
FoIkloricists such as I, Franko, Lesia l h a h h , M. Zahorska and 0. Slastion proved exemplary
correspondents assisting in the establishment of a comparative-historical method? F. Kolessa
transcnied and edited these recordings, published in 1913.

Filiaret Kolessa (1871- 1947) had by the 1900's become a distinguished scholar and collector in the
p - 1 3 PC11
LICIU 6 1 1
------
6 111~3;b.
~
T T t - ---LI:--+:--r
~ u puuuGauuua
a L --
w ~&j u%
T L ~PI. cnm
u
C~ * h r&minimn
J .t.C --
-...--..&"/b
-..- ----e-,
Gnmq and uPJnhe
g
f,

Ukrainian Folk Dumas as well as Ukrainian Oral ~ i t e r o t u r indicate

e ~ ~ an absorbsion of the scholarly
trends in objective and systematic folk music collection in East Cenhal Europe and the implementation
of contemporary research methods. Kolessa is considered by eminent scholars to be the greatest
scholar in Ukrainianfolk music even today.."

By the 1930%Ukrainian musicology, especially in the field of musical ethnography, reached rather

4 1 r p i ~ WM ~H ~K ~O,~
(1961)
~ , ~CTOD~R YKDB~HC~ MV~HKH,
KO~ Y K ~ ~ ~ H C ~ MKy H
wCw(~ RIHCTHT~T.
HKI h pm ~c .h e n k o , Mikola, (1961) Istoriia Ukraiinskoi Muziki, Ukraiinsltii Muzichnii Institut,
New York]. p.134**

U ~ y ~ ~ AHTI'H.~ u (1963)
b ~ Y~K D
~~~ , HCM~vK~BH -K
..ICTODHWHR
~ KDHTHVHH~ H~DHC,
Fudnits&
A~inposaXeunn, M l o ~ x e ~ . Antin- (1963)h i m s ' k a Muzika Istorichni'1 Kritichnii Naris,
Geschichte Der Ulcrainischen Musk Dniprowa Chwyh Munich]**p38
 Page -23-
impressive heights. In company with such scholars as Bela Bartok, Zo1ta.u Kodaly, Ukraini~la;tinianssuch as
Filiaret Kolessa, Klement Kvitka (1883-1953), and A. Chybinski integrated the principles of the
'Berlin School" of comparative musicology and traditional folk music research? However, Soviet
intervention in the 1930's caused a drastic shift in music education programs in Ulwioe. Propaganda
became the principal focus of music instruction. The emphasis in curricula on the Pan-Slavic in the
..
Soviet ethos greatly alienated Ukratntanscholars who recognized how significant a role
ethnomusicological research with its focus on linguistic and cultural national minorities played in the
Eastern European context. Not only were the LiveLihoods of these scholars threatened in the Soviet
system, but their ethno-cultural work was diametricalIy opposed to the government approved Pan-
Slavic aproach taken by the Soviet system. After World War II, when Western k i n e was returned
to the Sovietfold, thousands of specially trained propagandists poured into Western Ukraine to begin
once again the process of Sovietizing the region. The intelligentsia was the most nationally conscious
segment of the population and Soviet authorities mode a concerted eflort 10 alientale itf;.orn the
peasants and workers. Because Soviet propagandists promised to give "special attention" to those
who did not have a Soviet education and who had been brought up in "bourgeois"schools, a large
p m of the West U h i n i a n intelligentsiafled, together with the reheating Germans,fiom areas that
were not yet occupied by the ~ e ~dr r n ~ . "Also, m the pre- and postwar periods, the preparation of
qualif~edmusicians to carry on the ethnomusicologicalresearch tradition in Ukraiie was halted,

Perhaps the most telling indication of the political determination to create a Soviet nationaIity is
evidenced in the controversial restructuring of Soviet education as it dealt with the study of native
languages. Even as late at the 1950's Khruschev's seemingly liberal reform proposals meant thol one
could be educated in Ukraine without learning Ukrainian. Given the variety offormal and informal
pressures ro learn Russian, it was to be expected that many parents would choose to have their

'IA.Olkhovslol, Musicology, Ukraine: A concise Encvcbpaedia, Val. a, Volodymyr

Kubijovyv, University of Toronto Press, 1971, p. 578

'%rest Subtelny, Ukraine A History, University of Toronto Press, 1988. p. 478

 Page -24-

children study in Russian, and not to burden them with a second, albeit native, language-" Though
the western world considered the regime of the time more liberal than earlier, it was evident that
Russification was f h d y entrenched both in Soviet political policy and process.

It is therefore significant to the thesis topic at hand to note that since 1950, emigre scholarly institutions
such as the Ukrainian Academy of Arts and Sciences in the United States and Canada, and the
Shevchenko Scientific Society have devoted much time, money and effort to the compilation and study
of relevant materials. (Among these materials are the primary document upon which this study bases
its &dings.)

The findings of this phase of Ukrainian musicoIogical study are discussed in the works of Antin
Rudnytsky, an emigre scholar who established himself in America m the post World War 11 period.
- t . -
KUanYLSKY
--- ---- el-:- -:- --llam--c
fllZllly 0 1 I U i~ h r ~ wu-gurc,
~ b *
.A
A m e r i c a rnntinwed
A --&---
value a d study the acquired

resources in folkloric collections transported in this post World War 11period.

Rudnytsb theorizes that the chronologicaly oldest among the folk songs of Ukraine are the ritual
songs. Their origin in pre-history, long before the Christianization of Ukraine (circa 988 AD) explain
their ties to the cult of the sun, and other nature-worship. These songs direct and accompany rich
drama and ritual, forming the basis for many contemporary traditions, games and symbols, some of
which are embedded so much in the Lifestyle as to pass unnoticed, hidden sufficientlythat the untrained
eye fails to recognize them. Archaic ritual songs, removed fiom their ritual have remained for
hundreds of years, without change? in the repertoire of the people. The process by which Ukrainian
folk music enveloped the two religious movements in Ukraine, their worldview and faith systems,had
a decisive influence on the unusual and highly original character of Ukrainian folk song of these times?

4 8 ~ ~ ~ AHT~H. b ~Y K
~ u(1963) ~ D~~ ~, HMv3n~a -
C ~ K ~ ICTODW'IHHR K ~ H T.c
H~H .
.i Ha~nc,
H P.t'
M ~ ~ H xwudnitskii,
A~inpoeaXBH~R, ~H. Antin. (1963) g e t
Geschichte Der b i n i s c h e n Musik, Dniprowa Chwyla, Mimich] p.18**
 Page -25-

UIcrainian folk music scholar Alexander Koshets, when speaking about music to Columbia University
m New York, March 1937,said "...through the process wherein paganism became Christianity,
-.
Christianity became tlkmman.*. rtM

Rudnytsky indicates that when considering the old songs, closer analysis of the music may explain
certain aspects of its ritual purpose and its relative age. The summer songs associated with the Feast of
Kupalo (Summer Solstice) which through its historic connection to fertility rites and therefore wedding
rituak, begin with the symbolic cleansing with water and £be, and a plea to all deceased f&
members to assist the new couple. The tonal vocabulary of the Kupalo songs are dark and somber,
with short melodic lines of only a few tones. They are always sung in unison, with great ceremony, and
are recognized for their archaic, primitive character. Few true examples of Kupalo songs are found
anywhere other than in the old literature.

The fall season is recognized for its harvest festivals and its wedding rituals. Although wedding songs
may be sung tJx-oughout the year, because of their musical characteristics they belong to the group of
autumn songs. The wedding songs appeared in their ceremonial form and developed only after the XI
century, not surprisingly influenced by the Christianiz;ition of Ukraine. Diatonic melodies with a
narrow range of a f f i are telltale clues5' that the wedding songs ofthe archaic type, are yet younger
than the Kupalo songs.

Soviet sourcesR indicate that the wedding songs contain mces ofa matriarchal clan tradition. These
songs, like those in western European wedding songs, echo motifs which anthropological study has
tied to pagan religions of the past Wreaths, and other visual elements of the wedding drama are

R ~ ~ & i f M. u ,, (1989) ~CTOP~R

i ~ M. ~ K O TOM.
Y K ~ ~ H CMYBHKH ~ I Bia H&~A~EH~UIHX WCOB A0
cepeAHHH XIX CT.. Hay~06a
.. A ~ M K Knb,
~ : Y ~ p d [Gordiichuk,
~ a M. M.( 1989) btoriia ukrains'koi
i
JM iki &
Naukova Durnka: Kiev, Ukraiina.]
p.27**
 Page -26-

symbols which have survived the passage of time, and retain some of their significance even today.
Wedding songs direct the honoring ofthe clan, the continuance of the clan, honor the mother of the
bride and the father of the groom.

The winter cycle includes songs called koliudi - which are carols. Historically there are three types.
The pre-Christian with pagan, nature-worship motifk, and those Christianized yet tied to the pagan
cycle both retain elements of musically archaic melodic fonns. The third group, developed as hymns
after the XI century, with simple, singable melodies which quickiy became popularized thmughout
Ukraine. A uniquely Ukrainian folk song genre called schedreevki, associated with carols and yet
originating in pagan belief, are characterized with short melodies built primarily of three notes with step
and skip construction Schedreevkiare traditionally sung to greet the master of the house, the mistress,
and members of the family. The master and clan members are wished prosperity of every sort. The
schedreevki have a very Limited melodic character, and are noted for the simple word or two chanted
like a refhin?

The second oIdest ritual songs of Ukraine are the spring songs, haiilky. Their lyrics speak of
awakening, and quickening of nature, and love. The spring songs accompanied by ritual dances are
sung in unison by young girls. Frequently the spring songs have a strophic fonn, a verse followed by
what becomes a re-. This form is identified with the special formula with which the strophe repeats
and develops a single musical sequence or motif. These motifs characteristically have a range limited
to a major third or minor third. A very special roIe is played by the sixth (dorian), as well as the
seventh step, usually found in the final section of the melody. The colorfuI calling motif can be fomd to
include the fifth, rising to a sixth, and then returning to a fourth

All the above arcbaic ritual folk songs have one common characteristic - a limited range of less than a
fifth, or in later songs, a sixth. The earliest modes are lydian andlor dorian. The younger rituaI songs
 Page -27-
show the influence of dorian, mixolydim, ionian and hypodorim modes?

These ritual songs, with their ritual dances, pantomime, and symbolic dramatization reveal an elegant
Kolessa m 1927%understood that the singing and playing of ritual games,
inluirive sense 0ff0rm.~~
wherein the song is woven into the physical action, recreated rhythm and had a marked effect on the
structural form of the song.

Ritual songs speak in the musical language most dear to the people about faith in the power of nature.
However, the historical songs and d u m i (epic form) which appear in thc latter halfof the XN until the
XVIII centuries are rich in variety, regular strophic, rhythmically simple forms which develop factual
themes associated with Ukraine's tragic historical drama, events and heroes.
This epic genre called dumi,and later laments, cossack songs, knightly songs originated 2s slow
improvisational recitative. This recitative fonn is completely dictated by the rhythm of the words,
which also directes the rise and fall of the meIody. The flow of text is punctuated at appropriate
intervais wi& a repertoire of sranciarci meidic phrases or c o c k ~v'hich&aithe G X O ~ ~ Z CGiikiit ui

purpose of the song. Melodies associated with dumi are based on the dorian mode, with a minor
second between the second and third, and sixth and seventh steps. The fourth is often raised a half
step, which causes a major second between the third and fourth tone. This chromatization gives dumi
an oriental 5vor. In selections h r n the oldest period, the seventh step is never raised

A great variety of other folk song forms appeared relatively recently, in the XVI century, and are

Y ~ ' ) l ~ ~ ~ AHT~H. , K D ~ ~ HMv3wa

~ ~ ~ Y
t & b (1963) - KDHTH~HUA
C ~ K ~~ T O D M W H~DHC, .
i I s t o.n c h..~Kntlchnu
. .' Naris.
H~~
Aninposa X B H ~MK)HXBH.
, Budnhk& Antin. (1963) Ukraiins'ka M M k
ua
z
eschichte Der Ukrainischen Musk Dniprowa Chwyla, Munich.] p.42**

%rop~~qylc. Y ~ p a i ~ c bWKH
M. M. , (1989) f m p i ~ ~oI TOM. BjLl Hati,QaB~iu~x =COB A0
cepeawiu XIX CT.. Haym~a A~MM: Knie, Y ~ p a i ~ [Gordiichuk,
a. M. M. ( 1989) Istoriia Ukrainskoi
Naukova Dumka: Kiev, Uktauna,I "

p.29**
 Page -28-
related to fiunily We. They include lullabies, children's songs, boys and girls songs, songs of courtship
a d engagement, songs about women's fate, humorous and satirical songs, drinking soap, songs for
dancing, songs or laments over the dead?

Through the efforts ofthis emigre scholarly community, J k Zenoviy Lysko, who worked very long on
his collection of folk songs, completed and published a codex of folk songs, which encompasses
several thousand folk melodies and their various variants. Lysko was born 1895. His h t serious
music instruction was at the hand of composer Vasyl' Banrinsld. Lysko completed his doctorate in
.*
musicology at the Ukmmm University in Rague, and later (fkom 1925) lectured at the Ukraman
..
Pedagogical Institute in Prague. He returned to Galicia (Western Ukraine) (Hak'ychyna) and was
director of the branch of the Lysenko Musical Institute in the city Striy and editor of the Great
Songbook "Chervona Kdpa" (Red Guelder Rose) which was published in 1937, and included 229
choral folksong arrangements, and songs ofthe First World War. With M. Kolessa he ceauthored a
Conducting Manual. He also was Professor of Composition at the Lviv Musical Conservatory. ''
When he emigrated,sgLysko organized and administered programs for temporary musical schools i
n
the displaced persons camps in germ an^,^ afterwhich he moved to New York where he completed the
codex.

This massive document, Ukrainian Folk Melodies by Zenoviy L y s b upon which this study bases its

s8~)f~~~l&b AHT~H.
~ H f i(1963)
, ~ KH~-..ICTODH'~HH~
Y K D ~ ~ HMC ~ K ~ KDHTHWHE H ~ H c ,
X e n n ~ Mionxe~.
B~inposa , pudnitskii, An~in.(1963) I 1
Geschichte Der Ukrainischen Musk Dniprowa Chwyla, Munich.] *9.I66
*'see chapter 1, paragraph 2
 Page -29-
..
comparisons and findings, is considered by Ubarman scho~ars,"'an outstanding achievement in the
..
field of Ukrainhethnomusicology. The most authoritative Ukraman fok song coUections are
considered to be long out ofprint and rarely to beefound even in important ~ i b r a r i e s In
. ~Lysko's
opinion, archival findings are replete with inconsistencies and misinformation based on their publication
by Polish and Russian scholars with corresponding orthography. In fact, foreign musicologists,
qualified professionals and amateurs, have been in the habit of referring to songs fond in these types
of collections as representative of either Russian or Polish folklore. Soviet scholarly publications have
complicated issues further for ideological reasons because Lacking in thorough scientzjic analysb,
these editions also bypassed songs with tindesireable ideoiogy such those of the rich religious
genre. "

The ten volumes of Lysko's work have been pubkhed over a period of years. The first volume
appeared in New York in 1967 with the financial assistance of many individuals, and the last volume,
Volume 10 appeared in Toronto-New York in 1994 with the financial support of several foundations.
---
Zenovj Lysko thoroughly systemized and re-issued a corpus or- -11,w rourso6p
* - - -_-t:_t ---"-&
wrmu 1 S p l S C S U L

approximately 85% of all published and unpubhhed sources appearing before 1961. Access to the
remaining sources is virtually impossible at this point in Lysko's opinion? TlGs corpus is brought to a
uniformity in notation in Lysko's work effectively reconstructing the work of older publications.

Folk melodies of the U h i n e have beenfound to consist,for the most port (94%) of vocal songs; the

6 ' ~ ~ ~ ~ AHT~H.
~ l (1963) ~ D~ ~ ,~ H Mvmcta
r b ~Y K -
c ~ K ~ I C T O D H ~ H HKDWTWHHR
~ H~DHC,
A~inposaX ~ H ~Mlonxen.
R. Budnitskii, Antin. (1963) UkraiinslcaMwika Istorichnii Krit'chnii
.. 1 Naris,
Geschichte Der Ukramchen Musik, Dniprowa ChwyIa, Munich] **p. 166
6 2 n ~ ~ b ~ 0 , 3 e ~ o(1967) C ~ K MenonqTow.
% i f i . Y K D ~ ~Hamnni ~ ~ K ~ ~ H H KYH K
.. . , ~ H C ~ K ~
..
6inbna k ~ e r t i nhay^ y CUA, tin ~ P Kbisko, . Zenovii.( 1967) Ubaimk Narodni Melodu. Tom
J Pokazniki, Ukraiins'lca Vil'na Akademiia Nauk u SSHA, New York.] p. 9
 Page -30-

remainder is comprised ofpure& instnmentol melodies (5%) and nixed melodies (z%).~ Lysko
discovered that although one might anticipate great coUections of text in the archival collections,
generally, even eminent collectors and ethnomusicologists ignored more than the first few stanzas of
each song, because they felt that the music was that which was the essentiaI carrier of the song's
emotional content.

Lysko discusses the various forms of entry system for systemizing folk melodies. He rests upon
recognition of the principIe of form (musical syntax) as the most successll (in the contemporary sense)
(if not ideal) method of song organization. Finding similarities in the work of Ilmari Krohn's
monumental collection of Finnish folk songs, Bela Bartok's study of folk song, and FiIiaret Kolessa's
enormous legacy of Ukrainian folk song systemization, Lysko nonetheless determines that certain
differences of methodology in systemization are brought to the fore to some extent by the nature of the
material being studied. The work of each of these eminent scholars has contributed to the evolution of
specific systemization principles.

Yakov Sorokerp6 another music historian and theorist analyzes Ukrainian elements in the musical
language of composers in the regions surrounding U h h e . His work surveys the modes, melodies and
rhythms characteristic of Ukrainian foUc music and discusses their application in the works of the
Viennese classical school - nineteenth century German, Austrian and Hungarian composers including
Chopm, Bartok, as well as Russian composers including Musorgsb, Tchaikovsky, Fhsky-Korsakov,
Raclnnaninov and Prokofiev as well as IKhandoshkin, Serov and Kabelevsky. Soroker draws on a vast
array of musical literature and demonstrates that selected themes previously erroneously referred to as

6 5 n ~ 3enoeiA.
~ b ~ ~ (1967)
, . k Y~paitIcb~a
Hamani Menonii,To~.I ~ ~ O K ~ ~ H H K
Y~~aiHCblti
.. H,
Binbna k a , q e ~ i nhay^ y CUA. HK)h p ~&is'ko,
- Zenovii.( 1967) ~ i m Narodru ' Melodii. Tom
I Pokazniki, Ukraiins'ka V h Akademiia Nauk u SSK& New York] * p.1 I
..
66Yakov Soroker, Ulpamian Musical Elements in Classical M w,Canadian ]Institute of
-
Ukrainain Studies Press, Edmonton, 1995. (Born 1920 m Bessarabia. 1962-1976 chair of music
-
history and theory at Ivan Franko Pedagogical Institute in Drohobych, Ukraine, since 1976 in
Jerusalem)
 Page -3 1-
"Hungarian", "Russian", "Gypsy" or "Turkish" should,based on foIklonc and folksong evidence be
..
attrr'buted to the Ukrama folk song tradition.

. *
Soroker has traced features in a broad selection of Ukraman f o k melodies. He believes that signature
musical turns of phrase are present in the musical folklore of every culture, and these help professional
and amateur musicians identify those tunes indigenous to a people. However, his work separates the
index of quantity fkom the index of quality. In essence he believes that thefeatures occurring most
fieguently in musicalfolklore are not alwqs the ones considered the most characteristic or typical of
..
the genre. 67 Soroker indicates that more than 20 percent of Ukrammfolk melodies contain the
descending minor tetrachord, but due to its melodic neutrality, it's commonality with the musical
..
folklore of other countries, it has never been considered a uniquely IAmnm folkloric motive. The
movement of a leading tone down to the dominant of the mode is encountered as a cadence in about six
percent of melodies examined, but becouse of its uniqueness and vivid thematicism, it became a
stereotypical Ukninian melodic phrase." A melodic turn characterized by movement employing the
sounds of a minor triad occurs in approximately 7.5 percent of melodies examined, and it is considered
stereotypical. Song and dance genre, such as the hopak, kozachok, and koIornyih have characteristic
melodic phrases as well as rhythmic formulas. Another typicai characteristic of the W a n idiom is
the two tone motif of an ascending minor shah, which melodically, frequently symbolizes an
The lydian mode is fkquently associated with the epic genre called dumi. Modal
ex~iamation.~~
change is a highly characteristic phenomenon in the music of the Slavic peoples, particular the
Ubainions, 70 an integral part of the language. Melodies with an augmented second occur
predominantly in the western regions of Ukraine - the lands of the Htitsuls and Lemkos, as well as
 Page -32-

Tmcarpathia7', and although academics have attributed these to the influence of Eastern musics, this
"Hutsul Mode" is widespread throughout Ukraine. Soroker refers to a stereotypical melodic turn of a
descending minor sirth with a resolution into the tonic by meam of the L?degreeR,because of its
. *
widespread popularity in its many variant forms, both melodic and stylistic Ukmnm folk songs the
"Hryts refiainl'. By repeating the main intervals, the songs c o r n the significance of this signature
intonation. Although, quantitatively speaking,this phrase is broadly represented in approximately six
percent of the melodies Soroker studied, because of its unique position within the repertoire, the
"Hrys"melodic turn is considered by Ukrainian scholars, indigenously Ukrainian and highly
characteristic of the Ukruinian idiom in general73.

it was k o u g h h e invhihri of >. &i&iijj X&ir;:cbv:s!q, E I K ~ &Ch!gtk ~f i h i n i a n Culture and

Ethnography, Division of Slavic and East European Studies, University of Alberta, that the researcher
was able to attend a particuiarly valuable conference in folklore studies.

A conference "Studies in Ukrainian Culture and Ethnicity: Academic and Community Perspectives"
took place at the University of Alberta in Edmonton fiom A p d 26-28, 1996. Sponsored by the
Graduate Students of the Ukrainian Folklore Program and the Huculak Chair oflkainian Culture and
Ethnography in the Division of Slavic and East European Studies Department of Modem Languages
and Comparative Studies, this conference was attended by participants from throughout Alberta, as
well as British Columbia, Manitoba, Ontario, Quebec and the United States.

The abovementioned conference began with a Graduate Student Forum where local researchers
presented works in progress. Preeminent scholar Robert B. Klymasz (Canadian Centre for Folk
Culture Studies) was the main discussant, with seven student participants. A very prelhninary draft of
 Page -33-
research intents was brought to this forum by the research candidate. It was very interesting to note the
preponderance of studies in folklore. These studies were Limited to the linguisticfculturaYvisualarts
elements and none represented a strictly musical focus. The concept of tracing the heage of folk
-
. ethnornusicological
songs discovered in the Alberta Ukrainian community through the Ukrarman
collections was considered novel, and not particularly wen received at this f o n m It became obvious
that the musical elements which were a part of the folklore issues were not part of the ongoing
discussions because the participants were not musicians. Questions regarding any evidence of change
within the folksong traditions of the Ukrahh Canadian population since immigration have received
scant attention. Also, the question of how one can determine whether a folk song may be attniuted to
.-
the Ukramm folk song tradition, or whether it may be considered an altogether new creation, or
perhaps a hybrid of Canadian (North American influenced) Ukrainian folk song has not been discussed.
* .
This conference indicated that even among Ukmman Canadian folkIorists, this form of expertise is
lacking, and therefore supports the lack of data directIy related to this study.

Of the seventeen papers presented at this coderence, Dr. (Eobenj Zohcian Kiymasz's keyi1~2
aG&-css
"Ukrainian Camidian Folklore Studies: Current Trends and Issues", as well as three particular program
items were most valuable in a pre-research sense for the researcher. 'Erotic Motifk in Ulaainian Folk
Songs" by Raina Iotova, a graduate student fkom Bulgaria (University of Alberta), "Songs Your Mother
Should Never Have Taught You: Erotic Symbolism in Ukrainian Folksongs", by Orysia Tracz
(University of Manitoba), and f'Expressionsof Ethnic Identity: Some Thoughts on the Lullaby
Tradition Among Ukrainian Canadians in Edmonton", by VesseIa Ourdeva (University of Alberta)
were paaicuIarIy interesting presentations. While the conference was attended by members of the
..
Ukrainian community of Edmonton, a great number of non-Ukramam interested in the fields of
folklore and Ukrainian studies also took active part in the discussions following the presentations of
each paper. The conference underscored both the high level of current folklore scholarship, as well as
the growing interest in Uhainian folklore in general among academic and community circles.

Some reseach documents important to this study are not to be found in the standard University Library
collections in Alberta. The existence of these documents and collections were made known to the
 Page -34-
. *
researcher subsequent to this conference. Access to the AudicKollection of l k a m a n Canadian
ethnographer Dr. Robert Bohdan Klymasz, and his Selected Articles. 1 963-88 available to the
researcher by Professor Andrij Nahachewsky. Professor Andrij Hornjatkevyc assisted in the access
-.
and loan of necessary research documents fiom the Canadian Institute of Ukraman Studies Library
collection. Their support is noted.

Although the compiled ethnographic works of Dr. Robert Bohdan Klymasz, the preeminent scholar
..
in Ukrarntan Canadian folldore, (especially his folk music collection which spans the period from the
early 1960's to the early 1980's) have been transcn"bed, they await music analysis and pubIication. The
emergent musical elements of the songs inhis collection have not been discussed at length in his
coilected works, He has primarily discussed rhythms as influenced by the syllables in the lyric text, as
well as folkloric elements evidenced in the lyrics, He &o comments on the poetic and Literary forms
with regards to meter and rhythm- KIymasz also broadly refers to genre groups. Apparently this
aspect of Ukrainian Canadian musical ethnography awaits firher study- It is unfortunate therefore to
the researcher that this thesis will provide only partial information on the status of Ukrainian Fckong
in Kalyna country.

Folksong plays an important role within language, culhue, and Lifestyle practice. The vital mle of time,
place, and person within the culture are imprinted in the words, melody and interpretation of the
folksong. Where folksong research in Eastern Europe has had to bend with the social, political and
cultural changes brought about through the passage of time, nonetheless, valuable contributions
Ukrainian ethnomusicological study have continued to be made by academics, both native Ukrainians,
..
and in the diaspora. The research indicates that the= is no boundary limit to interest in Ikannn
folksong, as can be shown in the citizenship of Americans Antin Rudnytsb, A. Olklovsky, Mykola
Hiinchenko, Orest Subtelny, and Zenoviy Lysko; Canadians such as Dr. Robert Bohdan Klymasz,
-.
Orysia Tmcz, Vessela Ourdeva; native Ukmnms such as Filiaret Kolessa, V. Petrov, M. Gordeychuk;
Yakov Soroker, currently in Jerusalem; and Rains Yotova of Bulgaria. Where there are linguistically
..
Ukrainian people, there is interest in Ukmman folk song.
 Page -35-

Unfortunately, because Klymasz's materials have not been transcn'bed, and their musical elements
analyzed and compared with authoritative music anthologies such as the Lysko Document, the findings
of this study will therefore be based on the Lysko codex, other documents being visually inaccessible.

A review of the Literature regarding folk song, the collection, documentationand analysis of folksong,
and the nature of Ukrainian folksong has provided a foundation upon which to build this study.
Answers to relevant questions regarding the characteristics of folksongs, requirements for their
transmission, and effective methods which enhance their documentation and analysis play a great part
..
in designing a study of Ulwrman folk songs out of the traditional melieu. This literature review
indicates that Ukrainian folk song, whiie under continued academic focus over the years, has not
undergone the proposed method of study. The proposed study will therefore implement a Krohn-
Kolessa-Kodaly folk song collection method, using contemporary data recording took. It will study the
musical elements in the folk songs using a Lysko inspired analysis and systemization method. The
folkloric aspects of the study have been enlightened by Woropay, Kylymnyk, and the Huculak Chair of
Ukrainian Culture and Ethnography (FoUdore Studies) at the University of Alberta.
 Page -36-

CHAPTER 3 METHOD AND ANECDOTAL INFORMATION

A. Introduction
In formulating methodology and technique for this study the researcher has attempted to appproximate
the methods of science in ethnomusicology. Objective assessment of data gathered, has been
paramount The aim of this study was to study the implications of change to the folksong repertoire
after a literate central European culture is immersed into a lifestyle and linguistically different host
culture in North America.

This project was conceived as an indepth study in a single locale. It was important for the research to
consider the music not only for its aural, but also social, culturaI, psychological and aesthetic aspects.
The primary emphasis has been the analysis of the sounds of music referenced to the host community's
cultural matrix. The aim has been to record the music and analyze it for pedagogical use, with a minor
focus on understanding its purpose in context of human behavior. The product is a Limited, yet
- A.,~,,I ,,,I,,:,
t Z b L U I U L G 3uUb~tuai ,c
W
Q L ~ P & J ~ L ~L*L, ..&Icrrmm-+nt;~c
--e:r .
1 l l U 3 1 W n AUI --rnnhfe
.-C-- tfi
mtnxricierl ---- 1rn_&nt;rLn_di_ng
VWAAYI.W&~ULLI-Y of how
a musical behavior - the context and choice of songs sung- has changed over time in the context oftheir
human adaptation to the Canadian environment. In passing, the study comments on use and function of
the music. the role and status of the musicians.

This study was designed to contribute to our understanding of the tenacity with which folk culture
changes and adapts, in the hopes of bringing about a closer focus on the essential elements of the
traditions of UkrainianCanadians in Kalyna country circa 1997. The field
culturaVlin~istic/fo~ong
research methods have been consistent with those used no matter what society is being studied-

B. Method
The researcher travelled to Edmonton to spend one month living in the community seeking out
intomants in order to record their songs. A quality audio recording system was used to capture the
perf011118nce of each singer in hisher own setting.
 Page -37-

Potential idomants were contacted prior to f o d field work The importance of documenting
..
LJkmman Canadian folksong traditions was discussed with potential candidates. Their assistance was
soIicited in advance and informed consent was sought. Numerous senior citizens facilities catering to
-.
the LJhman Canadian population were contacted in the hopes that they would prove to be source
Iocations. Names of potential candidates were identified through contact with individuals associated
with Ukrainian studies at the University of Amerta (Ukmhh Folklore Program and Huculak Chair of
Ukrainian Culture and Ethnography in the Division of Slavic and East European Studies, Department
of Modem Languages and Comparative Studies Department) as well as other interest groups in the
community.

Fieldwork consisted of formally structured interviews with a standard list of questions and issues to
investigate. Each interview was scheduled for blocks of an hour, the option to continue or end the
interview in the informant's control. (Research questions may be found in Appendix B) Collected
data was to include: pertinent fife history of the informant, their personal observations regarding the
evolution of the linguistic and social context for singing fok songs, as weii as speciiic fok
song traditions. Informants were asked to sing the folk songs they remember, and to contextualize the
process by which they came to know them. In an attempt to appropriately reference or b e the
interview, potential singing situations and topics were identified, references drawn h m song
~Iassificationsof earlier Ukrainian ethnomusicological studies. Prompts included the following:
incantations, ritual songs (including the calendar cycle and marriage rites), funeral laments, the epic
genre called dumi,historical songs, tradesmen's songs, craffsmen's songs, songs of personal and family
We, dance songs, ballads, hummus songs and parodies, religious and mendicant songs (begging for
charity or alms).

After the folk songs were collected and recorded, they were t r a n s c n i into standard music notation.
There are two basic ways of notating music collected in fieldwork. One such way is Bela Bartok's
method, which involves tramcnbing everything precisely as sung, including accidental key shifts, rests
for mere breath, slides where notes may have been missed and others. Bartok's method is highly
scientific and accurate, yet it could give a different picture for each verse sung, and has little relevance
 Page -38-
to potential educational use of the material. For the purposes of this study, it was appropriate for the
transcriber to make educated judgements concerning the elements of each song. The songs were
notated in their most simple form. Transcniing many verses was often required before sealing on a
tonal and rhythmic W e w o r k which adequately reflected the singer's intent without focusing
inordinately on mistakes, mis-pauses, and inaccuracies in performance. This was the preferred method
of ethnomusicologist Zoltan Kodaly.

The songs were analyzed for pedagogical purposes. The researcher followed precedents set in former
research undertaken at the University of Calgary including that of Sharp Favreau in "An Analytical
Study for Pedagogical Purposes of French-Canadian Folk songs As Collected by Marius Barbeau",
Maureen Chafe in "The Collection and Documentation of Folk Song Traditions in Flew Dy Lys,
Newfoundland," and Luisa AIexander Izzo in "Spanish Language Songs for Teaching Music: An
Analytical Study". The researcher analyzed the songs for the following elements: tone set, meter,
form, mode, rhythmic se& range- All songs were notated with a final on gl (the second line on the
treble staff) for ease in both writing and comparison.

Throughout this document, all legal references, such as location names, and source materials have been
transliterated using the Libmy of Congress system. The song collection, located in the appendix
includes the complete Ukrainian text as it was offered by the con~liutors.This is signscant as it
accompanies the music notation. Lyrics were translated into English by the researcher. Care was
taken to assure that each rendition was as accurate in meaning as possible in order to retain the style of
the original. In addition to colloquial and idiomatic expressions, phraseology that defies exact
interpretation was translated to effect accuracy in spirit, if not phrase. References to elucidate certain
terms, Ukrainian customs or historical events were inserted where deemed necessary. The songs were
also transliterated using a system based on similar ones used when instructing English readers to
..
pronounce Ulaarman letters. The consonants sound in the order they are printed, and the vowels sound
a short vowel sound, unless they are doubled - which indicates a long vowel sound-

Commentaries giving brief background notes, generalizations about pends in theme or tone, and
 Page -39-

occasional opinions about the value or sig&fiwnce of certain songs aammpany selected songs.
Bibliographical notes, annotations, and rehmces to published t e x and
~ variants were included.

The researcher then compared the songs inme i9iberta colleclicmd hrhose in the Lysko codex to
identi@ those which are variants or mutations of folksongs havingliistdd documentation, as weU as
those songs/folksongs not being previoud-ydocllmented in a .codnr&as Lysko.

C. Anecdotal Information
Prior to submitting the proposal for this w,&e mearcher was to meet with ethnographers and
academics who are presently studying lJbamm f o b r e at the m i v e level. The researcher had,
I .

as an undergraduate, cokcted and studied l 3 d k l ~ r ewith Pdksmr &Man Medwidsky at the

University of Albeaa, and Ukrainian Language Studies with Andriy Homjatkewyc. When
approached again in the spring of 1996 with .this prqmsd field ofstudy?they were most supportive of
.
L --A --J--+--A:--
".-.-&.--
UIC pZ$22t a a l u u r r u b L o u u ~ u ~ r g --- - - mKMXJkrainim C-djm studies-
*he eicmif;rmtw rrdcrra& R

Both acknowledged that few, if any academics in Canada were omxedy pursuing the study of
Ukrainian folk song through the music. \JJtTfEibt bath offered dmrppor5 they could only advise the
researcher to approach current leaders in $ 4 hc
~ d - Ctzmogtaphy.

The writing of this thesis was made pas*mpm rh:com-kkmdartpice of these and other individuals
as well as the documents fisted. It wes ihq$discussion& I l S v e of Alberta Sessional
Lecturer Brian Cherwick that the researcher collected a numbff d m m s of potential research
candidates. Cherwick's research focus has h e n on i n s t n u n 4 iraditioas, specificaliythe tsymbaly -
or Ukrainian dulcimer. Cherwick was a61e share scant iafmh regarding potential folksong
singing informants with the mearcher. The source names, in *b&h cases, proved not valuable to the
researcher. The telephone and/or wrinen invitation to be ccmskbd a candidate for this research
project was eventudly rPfftsed Xettsms g;Yen-fbrx & d hrdibedaW uaice, emotional trauma,and
current lack of interest. It was therefore secessary to gather raaaesof potential research candidates
through other sources, and to consider wading with individualsd a difEerent/youngerage and
 Page -4%

generation. By the end of this process, it became clear to the researcher that certain pockets of the
heretofore healthy potential contriiuting community had been repeatedly called upon during
undergraduate research process, and their rehal to participate indicated primarily their concern that
their contributions were perhaps not appreciated by the younger undergraduate population who perhaps
had only a fleeting interest in foMore studies. The process by which some researchers conduct their
g be taxing to contriiutors who are otherwise knowledgeable and willing to
information g a t h e ~ can
support folkloric study.
Individuals such as The Right Reverend Father Meroslaw Kryschuk (Ukrainian Orthodox Church of
Canada), Dr. Andrij Hornjatkevyc (Slavic Studies - Linguistics, University of Alberta), and Dr. Ivanka
T a w (physician), Mrs. Lessia Chumer (Conductor - S t John's UloainianOrthodox Cathedral Choir,
Edmonton) were more informed, more forthcoming, supportive of the search for research candidates.
It was through the advice of these individuals that all of the eventual contributors to this study were
contacted. Their contriiution has been considered highly valuable to the researcher.

when the research propsai received q p r ~ i i l ak:i k sprkg cf 1097, z tizx Eii-~e de!haatig the
period considered for data-collection was drawn.

Although the original intention was to video tape the individual contributors and the i n t e ~ e w sthis
,
proved very expensive, and was not pursued further. It was necessary to revert to the standard audio-
cassette system of recording. The final process required approximatelytwenty 90 minute audio
cassettes. Three machines - a small dictation recorder, and two standard tape machines were used in
recording the interviews.

Formally structured inteniews were envisioned, with a standard list of questions and issues to
investigate. The required data included such iaformation as the pertinenet life history of the
informant(s), personal observations they might have regarding the evolution of the linguistic and social
context for singing Ukrainian folk songs, as well as specific folk song traditions. The purpose for these
questions was to encourage the contniutors to contextuafize the process by which they came to how
and value these songs over their lifetime. It was hoped that the questions might efficiently h e the
 Page -41-

interview, and suggest potential singing situations. The questionnaire used may be found m the
Appendix B.

The research questions were designed to contextualize and enrich the sharing and discussion of the
songs contributed. Questions regarding the anccral home in Ukraine, the relative reasons for
emigration and the plarmed life in Canada brought a focus to the discussion and placed the songs in
context and history. The intimate connection between the contributors and the homeland was drawn.
Then the contn'butors were asked to sing those songs which were most dear to them and their f h d y
life as it has evolved here in Canada. It was also possible in some cases to elicit song contriibutions
which reflected the community life outside the home.

D. Commentary on Transcribing the Interviews

Having collected the first of the folk songs the researcher found it necessary to begin the transcription
inio9-ai-d iiiiijic ijg63fia A @& c=sc-~ +&p i;hJz "$3.b&Bhv"'u2S E r s L*&d f& = Shfi

period of time in replaying, over and over, small portions of the song selections. With no clear idea of
the time that would be eventually required in executing this aspect of the study, the first songs were
labored over in tedious detail. Although the intent was to notate the songs in their most simple form, it
was interesting to consider variants in rhythm and meter, and not proceed directly to standard m e ,
but to foIIow the phrase, and singers' intent. Therefore, the first few songs have been notated with
phrase length measures. Settling on a tond and rhythmic M e w o r k was relative& easy to ascnibe
after most of the contributors had performed.

Using a computer program called Music Time Deluxe, data storage became more efficient. It was
necessary to return to the field to conduct more interviews, but after having begun the transcription of
the first songs, the second group of folksongs was easier to notate. Over a period of time, with more
familiarity with the computer program, the researcher was able to combine the two separate hctions
of transcription, and notation into one fluent data recording process.
 Page -42-

The subsequent traascription/notation of both the music and the lyrics required much time and
patience. The most time consuming transcrjption for one individual song required over three hours
fabout. There were songs which could be transmid in minutes. The quality of the recording
equipment was adequate, however, a stenographer's recorder would have greatly alleviated the stop-
and start routine which was implemented To complete the required tasks, three tape-recordersand a
small dictation recorder were required- The songs have been analysed for pedagogical purposes. AU
the songs have been notated with a final on gl (the second line on the treble staff) (however, where
tonality is indicated, and the i i d s is an implied gl, following Lyskorsprecedent, and the final is a
chord member of the gl) for ease in both writing and comparison. After considering the precedents
set in previous research undertaken at the University of Calgary it was decided that this particular
corpus required analysis for tone set, mode, meter, rhythms, and genre. It was also decided that this
particular corpus fell in line with the collections of such eminent scholars as Bartok and Kodaly in that
the most logical fmt step in systematizingwould be to group by genre. It would then be possible to
index for tone set, mode, meter, and rhythm set,

The complete Ukrainian text (as contributed by the singer@))accompanies the music notation. The
.-
L k a m m language was edited by Mrs- Hdyna Koszarycz, native speaker and language instructor.

The lyrics were translated by the researcher into Canadian phonetics, a form of transliteration which
..
@om prior experience shared with LJkmn.m language teachers at the County of Strathcona UkmEm
Bilingual Program at Brentwood School -1981-84) works well in general with Canadian born English
readers.

The researcher also translated the lyrics into English. Care bas been taken m each case to be accurate
to the intent of the singer, and to retain the style ofthe original without bias. The colloquial and
idiomatic expressions, and phraseology which has defied exact interpretation, has been translated to
. I

effect an overall accuracy in spirit References which elucidate certain tenns,Ulaarman customs
andlor historical events have been included on the page.
 Page -43-

Where the lineage of the song can be traced to collections such as Lysko, Kolessa, and/or Lyra Surma,
these are commented on the page with the music. The results of analysis of the songs have been
documented Iater in this document. Where commentaries about backgreund, trend or theme are short
enough, they have been included on the same page as thc music.

The loan of the several important research documents, most s i g n i s w & e £irst six volumes of the
Zenoviy Lysko F
..
collection fiom the liirary t h e Canadian Institute of
Ukrainian Studies in Edmonton certainly made the analysis process less dEcuIt. The last four
volumes were borrowed fiorn The University of Aberta Rutherfind Library in Edmonton.

The process of transcniing each ofthe individual songs in the collection, numbering well over 1SO
songs proved an enlightening experience. The urge to wighten ouf correct, edit, and bring into line
the folk songs collected with variants known to the researcher personally was resisted. The variants
sung by the contributors are not necessarily correct or wrung, however, it is possible that they may not
'&2kZici L -
--~ ; ~-trar-- - -re-11
I U I U V I ~VL
S IVL ---- -.-- Ll
awl53 a w l 5 ,,u
u+a
rG
-1 !-uwua
--G--e A
--r-
,- --
t L ,-
ur u
--.
--- -
T TkP;rr&arrParrrrAinnc b-

Alberta. Nonetheless, they have been natated as c o d r i h k d .

Having analyzed the collection, in detail, and constructed W dpertinentdzta, it was rewarding to
realize that most of the melodies had been memorized. This in fact assist4 the =searcher greatly
because singing through 11,447 folk songs in the Lysko collection, was t k a n l y practical way to
compare the Alberta collection with this codex. In order $0 effectivdyd efficiently substantiate any
variant or mutation within the Lysko cokction, it was s c e s a r y to haw the music intimately-
 Page -44-
CHAPTER 4 THE INFORMANTS

During the course of research the names of potential informants who could contriiute valuable
information for this study were listed. The individuals not only consented to the interview process, but
devoted much time and thought to the research questions to be posed. A profile of their pertinent
personal information is included in order to contextualize the processes and purposes for their eventual
involvement in this study.

The research interviews were conducted with seven individuals (or couples) all of whom Live in or
..
around the Kalyna country area. All had signiscant ties with the Ukniman homeland, yet considered
themselves very Canadian, perhaps by virtue oftheir f d e s experiencing their formative years during
pioneer times on the Canadian prairies. All the candidates began their Lives on Canadian prairie farms
-
in predominantly uhaman settlements. All the candidates spoke Ukrainian as their first language, and
each one had completed some level of English language schooling. Halfhad completed high school,
and hair"had a d e r s i r y education. Tneir prufes~his?zi&hrt atcm.z+mtb k n ~S.t v d k c !
been teachers before their retirement. Less than half were male, and more than half were female.

In age the research candidates varied fiom 6 1 to 82 years. In terms of Canadian genealogy, 71.4%
considered themselves first generation Canadian, 28.5% second generation Canadian.

The individuals who contniuted to this research study were particularly gracious, answering the
research questions freely, and contributing heartfelt responses. Some of them spent copious amounts
of time d i g comprehensive answers to the research questions in advance of the interview, which
made the interview process more linear and complete.

The task of seeking out infonnants was not linear. By word of mouth, several helpfbl individuals had
discussed in advance the signZcance of this study with their peers. In particular, a group of people
associated with The Right Reverend Father Meroslaw Kryschuk and his parish work were considered
due to the high frequency with which a relatively stable group of senior citizens were meeting (twice a
 Page 4 5 -

month on Tuesdays) at the parish hall for community singing. During the summer months, this pattern
was altered, significantly changing the course of eventual interview planning. Unforhinately, contrary
to the perceptions of the researcher, this group of potential research candidates had a rich and busy
social We, even in the summer season Many of those considered for interviews were not available
even for the initid telephone contact.

Having solicited, and selected a number of the potential informants m advance, it was necessary to
s phases. The initial work of scheduling proved more
approach the formal field work i n t e ~ e w in
complex than was originally expected. The assumption that the potential informants led a relatively
sedentary and home based life proved faulty. The issue of age, and health ofthe potential contriiutors
also complicated the research path taken.

Of the seven research conrniutors (or couples) who eventually agreed to interviews, five were sent the
questionnaire containing the research questions in advance. These were people who were )mown to the
researcher in advance of arrival in Edmonton. Research dates were discussed anci tenmuvciy sei wkh
all of the above.

The researcher met with the &-st interview informant, Mrs. Nadia Shwaikowski, on July 8. The
interview was conducted in a basement office, lined with Ukrainian books, and filled with boxes of
more Ukrainian books. The desk portion of the office space would, by the time the interview had
reached its third installment, not be big enough to hold the samples of old song books, handwritten
notes, gestetner copies and photocopied notes shown as evidence of this person's appreciation for
Ukrainian folk song. A second instahent of the interview took place on July 10.

The second informant, Mr. Meroslaw Muzyka met with the researcher on the morning of July 10. The
second installment was completed that same afternoon. He had prepared himselfwith copious notes
f?om which he read in response to many of the questions.

The advance contact made with the contributors proved productive in about half of the interview
 Page -46-

appointments. These Xormants were given a week to two weeks advance notice ofthe requested
interview, and the arranged time and locale was directed by the informants. This proved exceptionally
profitable in the case of the first two i n t e ~ e w s .These two interviews (Mzyka, Shwaikowsla') were
essentially directed by the candidates themselves. They had pcepared in both written form and with
necessary references to effectively respond to the package of research questions which had been
provided to them in advance by mail.

Although the data &om two scheduled i n t e ~ e w conducted

s in Ukrainian on July 12, with
octegenarians Mrs. Tena Tkachyk and Mrs. O h Senchyna proved rich in moral and spirihzal
sustenance for the interviewer, they proved short in content and song contriiutions.

Two further intemiews (July 17) took place in the area called Kalyna comtry, and with two individuals
(Mr. Bohdan T a w and Mrs. Michalina Lena Tataryn) who expressed a deep sense of cultural
isolation. This husband and wife team, both in their mid-seventies, lived on the original family
homestead purchased before World War I within view ofthe on@ home, and were stiii very
actively involved in the physical work of farming. She managed a huge garden while he, with the help
of his youngest son, was still farming four quarter sections of land. The interviews were conducted in
both Ukrainian and English. It was obvious from the course of the i n t e ~ e wthat several days would
be involved in effectively pursuing these candidates. After a fdl day of valuable conmibution, the
family referred the researcher to another potential contn'butor (just down the road). The Tatarynfswere
very gracious contributers. In the time we were together, they shared two meals, borsch recipe advice,
two fruitfUI interviews and an excellent lead to an evening interview with another possible contriiutor.

Mrs. Katie Zibrowski indeed did live just a Little way down the farm road fiom the Tatarynfs,but her
place in the world was completely unique. The researcher arrived on the evening of July 17, a meet
Mrs. Katie Zibrowski who was sitting on the back porch step of an immaculate, small farmhouse.
Without any advance notice short of the phone call h m the T8tarynfs,Mrs. Zibrowski was prepared to
..
volunteer any Ukraman folk song information requested during the interview process. Mix. Zibrowski
had pulled out her four inch thick singing binder, arranged herself and a pitcher of iced tea on the small
 Page -47-
kitchen table, and was anxious to begin. Two hours flew by as Mrs. Zibrowski responded to every
interview question in turn, with a song selection h m her singing binder. The interesting thing about
this interview, is that it was conducted entidy in English and that the lyrics to every song in her
songbook were handwritten in English transliteration in her own fishion. Mrs. Zibrowski would, over
the course ofthe intewiew, gauge the researchers response to her songs, and choose more h l y as the
evening wore on. She sang for two hours without stopping, except to explain briefly, or comment
about the songs. As the evening continued, the songs became more intimate, more closely related to
the personal experiences in Mrs. Zibrowski's We. It became obvious that although she was not a
concert musician, this woman had a special talent, was appreciated by a particular community, and was
aware that this talent gave her certain responsibilities within that community. She expressed deeply
held feelings about giving comfort and enjoyment through her singing. She had never before been
mvited to participate in such academic research. and was determined to give her all.

On July 3 1 the researcher was able to meet with Mr. Bill Labatiuk in his home in Sherwood Park, an
v
urban communityjust east OK camonion.
8--
hpriu S---- -2----
wLYI
~ L ~ C ~ ~ G U ~ S .M~~~
-AL 1J- r nh..rc+;*.L the -ce.rrrhPrhnd
1 1 ~ -a- r --
rd-----

lmown him as a highly efficient elementary school administrator. His demeanor was professional, and
as un-immigrant as imaginable. This interview was arranged upon the advice of mutually acquainted
Ukrainian community members. What a wonderfbl surprise to fhd that this person's home-life was
rich and intimately tied, with language and folk song, with the immigrant generation. He spoke lovingly
of his childhood years, revealing details which richly contextualized his eventual acculturation and
integration into the English speaking community. The interview was conducted primarily in English
although it was evident fiom what Ukrainian narrative was shared that the language has retained its
significance. Later, after the process of tabulating data had almost been completed (in April 1W8), it
was discovered that several songs which had been offered during Mr. Labatiuk's i n t e ~ e w
were
incomplete. Before the weekend of Easter, with his approval, it was possible to send the incompleted
folk songs as notated to him for verification and clarification. When his family went to their home
church to celebrate Easter, the efiended m y willingly participated in reconstructing the folksongs
that were requested. Mr. Labatidc then kindly mailed a cassette tape and print copies in order for the
researcher to complete the data organization process.
 Page -48-
Mrs. Anna Zwozdesb was among the 6rst people contacted to arrange an interview. An
acknowIedged leader in the Ukraiuk folk song tradition, she had participated in an earlier academic
study, but nevertheless agreed to participate. However her extended family was celebrating a
hundredth anniversary homecoming at the pioneer homestead in Saskatchewan* This delayed our
intexview date until later in the process. In the meantime,she was able to influence a famih.who were
pIanning a ritual wreath weaving ceremony and celebration prior to their daughter's marriage, to d o w
the researcher to attend and audio tape the proceedings. The ritual wreath weaving ceremony was
conducted in the home of Mr. and Mrs. Taras and Audrey Uzwyshyn before the mamiage of their
daughter Connie.

The wreath weaving ceremony happened on the evening of Thursday, July 3 1, and the ritual was
entirely accompanied with song. The hundred people attending, the highly mobile form in which this
ritual is enacted, and the interference of noise greatly diminished the sound quality of the tape. For this
reason it was essential to discuss the wreath weaving songs and accompanying ritual with Mrs. Anna
Zwozdesb, and t'his interview was conciu~ied w e k f ~ k &c ~c-czy,
~ g c?" A4cgs?
7.

Early in the scheduling process it was suggested by a number of respondents that an ideal oppormnifl
for recording folksongs would be offered during the Klondike Days celebrations at a Senior Citizen's
facility where there would be entertainment and a sing-along. On the recommendation of Mrs. Jean
Bidniak and her h u s b ~ ~George,
d this was made possible. With the approval of the individuals
involved, an audio recording of this community sing-along was made. Although the quality of the tape
is less than perfect, the repertoire sung there duplicated many of the songs recorded in other interviews,
validating the song selection process. At a later date, the Bidniak's welcomed the researcher into their
home in south-east Edmonton where a complete and very productive interview was conducted.

Mr. Muzyka graciously agreed to two time blocked interviews on the same day. Mrs. Shwaikowski
was interviewed in three separate hour blocks over a period of a few days. Mr. and Mrs. Tataryn were
interviewed m their lovely home in the rural area of Thorhild in blocks before and after lunch time,
during the hottest time on a summer day. Mis. Zibrowski's two hour block of interview time was
 Page -49-

compressed. She essentially sang for two solid hours, and would have continued had the interviewer
not had to drive the distance to Edmonton alone that evening. The Labatiuk interview lasted almost an
hour and a half. Mrs. Zwozdesky would not interrupt the interview process until a11 the required
elements were completed. The lunch time meal of borsch required reheating twice because she refbsed
to interrupt the discussion. Mrs. Bidniak was interviewed in her home for about an hour and half.
During this time, the interview was interrupted with a meal of borsch, and when the interview was
completed, she stood on the fiont driveway for at least another half hour impressing upon the
researcher the value of these folksongs in her family and personal Life.

At the request of the candidates, in almost all cases the interview proceeded until the final questions
were answered. The recording process involved in conducting these interviews was threefold. A
cassette player was used to record each entire interview. As well, notes were taken during the
interviews in order to keep track of the questions, as well as to comment on facial expressions, or
assumptions made by both interviewer and contributor in the personal contact, Copious notes
11 4L- ---1:An+-c 1L.e
describing the physical home situation were nor &en, *mause h US W A U ~ - ~ ~ ~ rn lr
rr ~ r \ m t ~ m - m -
Y CIwIACIUIYYllr,

existence with all the accoutrements of contemporary North American Life. Upon the completion of
each individual interview it was necessary to re-read the written notes and comment,or complete what
was written before conducting the subsequent interviews.
 Page -50-
A. Contributor Profiles
I a t e ~ e w were
s conducted with these individuals: Mr. Memskw Muzyka, Mrs. Nadia Shwaikowski,
Mr. Bill Labatiuk, Mr. Bohdan and Mrs. Michalina Tataryn and, Mrs. Kay (Katie) Zibrowski, Mrs.
Anna Zwozdesky and Mr. George and Mrs. Jean Bidniak. Each interview took place in the home of
the contributors. Muzyka, Shwaikowski, Zwozdesly, and Bidniak were interviewed in the city of
Edmonton. Labatiuk was interviewed in Shemood Park, a city suburb east of Edmontoa Tataryn and
Zibrowski were interviewed on their fkmteads in the Thorhild area, an area north and east of the
orighai Nebyliw group settlement.
 -
Page -5 1

CONTRIBUTOR PROFILES
Name FarniIy Canadian Rural
Arrival Homestead Sex Citizenship /Urban
(generation)
Meroslaw
Muzyka 1906 Lamont area, Male First Urban
Alberta
Nadia
Shwaikowski Female Second Urban

Michalina
Tataryn 1912 ChipmadStary Female First Rural
Alberta
Bohdan
Tataryn 1907 Radway area, Male First Rural
Alberta
Katie (Kay)
Zibrowski 1911 AbeefThorhild, Female Second Rural
Alberta
Bill
Labatiuk 1902 NormdWiigdon, Male First Rural
Alberta
Jean
Bidniak 1890's Andrewy Female Second Urban
Alberta
Anna
Zwozdesky Female Second Urban
 Page -52-
The contri%utorswere asked the following questions during the course ofthe interview. Their
responses provide a snapshot ofthe contriiutor in terms oftheir personal relationship to the immigrant
experience. Biographical i n f o d m was contri'buted k i y . The comments wntrributors made in
order to explain the reasons and significance of their singing selections have been consolidated.

Where in Ukraine are your direct ancestors, pamas, grandpnts,etc. h?

Why did they leave to come to Canada?

How and when did they come to Canada?

What kind of groups did your family member travel with?

Where did they plan to settle?

What kind of community did your family member have in the new situation?

How far removed in time and location are you fkom the original immigrants?

What, if any recollection of them do you have?

B. Pertinent Biographical Information

Mr. Meroslaw Muzyka was born in 1915 in the area called Delph, which is 20 miles noah of
Lamont, south of the river. At the time of the interview, he is 82 years. His parents both fkom
the village of Deniseev, which is located in the Ternopil area of Westem U h h e . Although his parents
had been briefly acquainted with each other in the old country, they were both single when they arrived
in Canada His mother came to Canada m 1906 (with other village acquaintances) to join a sister
 Page -53-
aiready living in the Delph area where many other fimilies fkom the Deniseev area had previously
settled. However, she had planned to come to earn some money, and return to the old country. His
M e r , having completed 3 months training for the m y , avoided the service by getting on a United
States bound livestock ship as a laborer,alone, at Hamburg, Germany, travelling through Montreal,
Toronto, and Eastern Canada before eventuallyjoining members of his f h d y a h d y in Radway,
Alberta In the hLl of 1910 Mr. Muzyka's fhther filed for a homestead just 3 miles from his hture
wife's family homestead. Mr. Muzyka said that on one Sunday that MI, his hther waked 16 miles to
find his fbture wife, and after the formalities of the rituai betrothal, they were soon married and settled
down to have a famiIy. Mr. Muzyka is the third of five chiIdren.

Mr. M e recalls his father's stories about cIearing the bush and cutting down trees to build a home.
The logs which were chopped to clear the land were the same logs used to build the first home, a sod
covered log house, plastered with mud, with a simple dirt floor. Mr. Muzyka insists laughingly that if
one wanted to check, his knees are still dirty &om crawling on that dirt floor in his W y home.

During the summer months, Mr. Mwyka's father would go away to find a cash paying job, leaving his
mother to care for the fann and children. In fill time his fhther would return to hawest crops, tend for
the cattle, and prepare the family home for winter.

m. M u z v h went to English school in the DeIph area, one which was built in 1913. Their Ukrainian
church was built in 1920,and commnity hall in 1927. By Mi. Muzyka's estimation, 90% of the
community were Ukrainian speaking. As an aside he explained that there were also three Polish
familes, but all but one could speak in Ukrai&m. The Muzyka family had continued contact with old
country family and mends who generally settled in blocks in the Radway/Delph area, the St.Paul area
in a community called Primula, as well as a community called "Honeymoon" in the Prince Albert area
of Saskatchewan.

&lr. Munkg spent his first eighteen years living at home, going to school doing chores, and helping on
his family farm. An uncle who had been the village secretary in the old country came to Live with them
 Page -54-
in the winter, and so Mr. Muyka was tutored m Ukrainian, Polish and German. However, he needed
to learn English in public school. At the age of eighteen or nineteen years, Mr. Muzyka went to
Carnrose Normal School where he took teacher training. He subsequently taught in his home school
for three years, in order to work off taxes on his fhther's b.
He later taught in other districts, got
married, and moved to the larger centers of Redwater and Edmontox~

recalls family life having cheerfbl happy moments filled with both his mother and father
singing. They sang "quite a bit" in the evenings. He learned "most ofhis" songs fiom them, and sang
fkquently with them in the church choir. Mr. Muyka counts his community school as fortunate
because most of their teachers were Ukrainian,and while they needed to Ieam English, the Ukrainian
community expected the school teacher to prepare at least a Christmas concert and a Year end concert.
So they needed to learn "very many Ukrainian fok songs too".

In his younger years, Mr. Muzvb had to live up to his name - which in Ukrainian means "musician".
He and his brother fonned a band and their orcheskd p h y d hcomii-iiixi't-y 2iz.E~; t ~ v ' ~ the kk.
= ! ~rez

Muzyka taught himselfto play guitar, banjo, saxophone, drums, accordian and he also sang. For over
30 years, Mr. Muzyka conducted church choir first in Redwater and later in Edmonton, preparing
Christmas carols, festivals, radio and television performances.

Mrs. Nadia Shwaikowski a second generation Canadian, 61 years of age on the interiew date. She
was born in 1936, the only child ofparents living on a farm in Merridale, Manitoba Her father came
to Canada fiom Sokal', Halychyna in Western Ukraine. More complete information was shared about
her grandparents on her mother's side.

Her grandparents arrived in Canada in 1900 on a ship which, interestingly enough, sailed fiom
Liverpool. They departed fkom their home in a tiny village called LishyshnrrCyyin the district of
i ksw
ok i aw
hs .m
Zalischyky in Halychyna, Western Ukraine. Although one can not be sure, believes
that the reason for leaving Ukraine was at least pamally economic. 'They didn't have enough land to
divide for the children." The grandparents came to Canada with three children, ages 13,11 and 9.
 Page -55-
..
They had p h e d to come to Winnipeg, and migrated through small U h m w settlements including
V i i Manitoba before fkally settling in Merridale, Manitoba. Although the land designated by the
land-agents for their farm was not idea being rocky and dficult to f22rm, it reminded them of the hilly
landscapes of home. There was no organized community in Merridale when they arrived. They
needed to begin the entire process of community building. The neighbors all worked together. People
of UlaainianOrthodox and U k r a i i Catholic faahs worked and prayed together. When her
grandfather died in 1921, he was buried in the cornmdty cemetary, which has since been
administered by the Ukraink Catholic church (not their W). Her grandmother remarried a man very
active in organizing community affaifs, including the subsequent bdding of a Ukrainian Orthodox
church in the vicinity.

As a child, Mrs. Shwaikowski lived 12 to 15 miles &om her grandparent's home. She has memories of
her grandmother singing frequently. Her mother sang often, with excerpts and parts of songs, enjoyed
telling folk proverbs to illustrate a point, or comment on the events in her everyday life. She recalls her
mother singing f h y , but ilhrstrative songs.

Mrs. Shwaikowski has always spoken Ukrainian, however her formal instruction in reading and
.-
writing, and Ukrainian history and culture was begun when she first attended a full time Ukrsllnran
summer school away f b m her parent's home area, at 11 years old. She was required to stay with
family fiends during the week and returned home only on weekends during this month of instruction.

Mrs. Shwaikowski's family moved to Vancouver when she was in her early teens. There she had the
..
opportunity to join the Canadian l 3 m n . m Youth Association (CYMK), a branch of an organization
her mother had belonged to as a young girl. Club members were encouraged to learn about Ulo?linian
culture, dancing and other tradrtions. She learned many folksongs and also sang in the church choir.
Her family soon moved back to Manitoba, and chose to Iive in a small town called Roblin, not f
kh m
the original homestead at Merridale. She later went to Wdpeg to attend university, where she met
her future husband. She was married in 1956, and has lived in north central Alberta since that time.
 Page -56-

Mrs. Michalina @ens) Tataryn was m t e ~ e w e don July 17 at the Tatsryn famihl homestead in
Kalyna country near Thorhild, Alberta Mrs. Tataryn is currently 73 years. She is the middle chi& the
fifth child of eleven. Her parents both came to Canada h m the same village, Ninovych, Yaroslav
area, Western Ukraine- Although they had met, they werent particularly special Sends during their
time m the old country. The area in which they bed, akhough ethnically l X m h h , was under
Austrian/Polish administration,

Her father, who had previously worked m the fields as a farmhand m Gennany, came to Canada m
1912 at the age of about 20. He made the decision to come to Cafliida *because he didn't see any
future in Ukraine. Ukraine wasn't a free country. That probably had something to do with L" He was
hopeful that in Canada he could get some land and work towards his own prosperity, rather than work
as a farmhand for others. Members of his f e were already settfed in the Lamont area. He came to
his aunt's home in the Star area. "Dad had come out to file for a homestead before mother had ever
arrived. But you had to be back in a year and do some improvements. He lost it because he didn't
=crn k spc%zd &TC. f'ir z k!mnestead.'t
fie Mtc gc z.1r e q ~ ! y

Jvlrs. Tatasvn's mother arrived in Canada about 1913-19 14 at the age of 20. In the old country she had
had little schooling, perhaps for economic reasons. She worked for other land owners ss a farmhand.
She and three other single girls about her age were going to join some f
w acquaintances they knew
who had previously settled in W i p e g . None of these girls had any relatives in Canada. Mrs.
Tataryntsmother "obtaineda job in a restamant, which was to her advantage. She would tell anecdotes
[about that time when] she didn't know the language. Sometimes her boss would tell her to do
something and she would do a different thing, so sometimes she would get a scolding. Then [after a
time] they understood her, and she was making an effort to do whatever was needed I think that she
was a very brave lady." Mrs. Tatarynlsmother had received this blessing fiom her father upon her
leaving the old country. "Goto Canada, maybe you'll h d our neighbor Andrew there!"

"They met in Winnipeg several years after mother had arrived." The chance meeting of these two
people was at the home of former village neighbors who had previously established themselves, and
 Page -57-
adjusted well to the city life in Winnipeg. 'While he was in W i g ,he was working in a packing
plant So he had earned some money." Mis. T a w mother had considered this young man rather
handsome, and she never expected him to be very interested in her. But " he was a very ambitious
man, He really wzs. Both of them were." "They were married in 1915, and in the spring they come
out to Chipman...well the Chiprnan/Star area." "When he came out here he bought a team of oxen.
They had a wagon, a plow [and] whatever was needed to start a new homestead."

They came to settle "in the Pine Creek area in the district that was Clodford. It was m an area that
.-
wasn't all Ukmmansettlers. In k t it was at the time more anglo-saxon redly." " Mother and dad
were good providers for the children. Plus, they were very benevolent people. Like, they would he$
anybody out" u @ r yrecalls, that although others were not able to provide for their children
particularly well, her mother's garden produce was 'trsed to supply the neighbors. We used to get lard
in A 0 pound containers. She used to...HI that up with rnik and take it over."

M s . Tzkii~i's=Ici scrvcd cs trc~teecz the schcc! bd r~!~c:fl

fix yea-rs. She tecalls that although
the community was predominantly an&-saxon, he felt compelled to stand up for the needs of the non-
English population, even encouraging applications from non-English teachers, although the board
o v e d e d these applications.

The first church that Mrs. Tataqm's parents and family attended was 12 miles away by horse and cart,
which generally took a couple of hours even in the best weather. It was located at Waskateneau. "At
..
first it was just a Ukrauuan church, of both Orthodox and Catholic [faiw]." By the time she was
s a pool
about 10 or 12 years old and the community had become tired of having liturgical s e ~ c e in
hall, the Orthodox community bought their first church.

JMrs. T a v says that although ''myyounger brothers had a bit [of ukrahkm lessons], I did& have
.
any.....the first learning I did [of Ukmman reading] was looking over my dad's shoulder. Often when
he was reading aloud, or when we were singing - and when he had a book and there were the words
..
there....that's how I recall my first Ukmmm kssons......We were s h a g at home, and I remember dad
 Page -58-
was sitting at the table with his book in h n t of him. And that's how I started to Ieam a bit of reading
..
the ulualmm language. He didn't do [this teaching] in any f o d way. He was singing and I was
-
standing behind him and looking to see what the words were you learned the words and then you
could see what they Iooked like..."

Mrs. T a m vividly recalIs her primary school teacher wanting to promote her "intothe next grade, but
the superintendent wouldn't Wce that.....It was the idea that I was Ukrainian,and there were English
ones [children] there and...I [can only] imagine ...what the superintendent would have said." Mrs.
Tataryn married in I948 and in more the "westernstyle. Because we worked...we lived with
them....We were melted into the [community]. With us growingup... adopting everything that you
heard m school...and you didn't have any Ukrainian in the school." . As she has for most ofher life,
she now Lives some seven miles fiom her parents original homestead. She and Mr. T a m have been
married for 50 years.

~ rBobdan
. Tararvo is now 78 years oid. Eis &WP ta Czi-iA tk t4kige sf VeW
Hovyliv, not far north east of Terebovlia, which was at the time located in the part of Hafychyna that
had been divided among Poland and Russia. This location was near the Russian border. He was 17
years old when he came to Canada. 'There were no possibilities for schooling or university. He had
finished grade school in the village and wanted to continue his studies. There were no possibilities for
him - no money - so he came to Canada with his older cousin who was avoiding army service there."
The young men, with some of their acquaintances arrived in Winnipeg, and then separated to get work
wherever it was possible. Immigrants were allowed transportation on the &aim "almostfor h e " , and
so Mr. Tataryn travelled to Calgary. The two brothers spent two days without work and thought he'd
..
die of hunger '%butsome Ubauuan fellow saw this young man in trouble and took him to their place
and fed him. And they stayed a day or so - and then he found work for them on the "extragang." "The
fellow that was hiring for the gang said- if you can't speak English, I don't need you. So they worked
for two days, and he threw them out. And didn't pay them. That's the trouble they had at the
beginning. But they learned to speak the language quickly and to read and write. They left Calgary for
other jobs on the railroad." After spending many years '?hey became quite adept at railroad work - he
 Page -59-
was a foreman of an extra gang before he left it. He worked on the Prince Rupert he!'

After having spent seven years working, and making money in Canada, in "1914 he quit the job, and
was going to go to Ukraine to visit his parents. Because he left at 17 years ofage and he was now
24..he was going to go to Ukraine to see his parents and relatives .....put] World War I broke out, and
it was impossible to go. Maybe [itis] a good thing he didnr get on the trip, because ifhe had gone
there it would have been entirely different So he couldn't go anywhere! To make matters worse he
couldn't go back to work because he was an Austrian papers and documentation]. They put
anybody who was out on the railway working - .....into concentration camps?4 He escaped [the
detention camps] by being on the b.That's what saved him. He just about got picked up and he
went and wrote to that area where he got a job, that he could have a job, and he was going to Edmonton
and he got picked up by the RCMP. They were ready to practically take him to concentration
camp...but anyway that's where he met my mother."

employment off the f m , pursued a c u b 1 life within their limited means. 'There was a cultural club
organized in 1914 when the war started. These people couldn't move off the f m . They had to do
something with their activities and so they organized this cultural club. So they got that going and they

""~anada'sfirst national internment operations were authorized by Order in Council (PC

22721). dated 28 October I91 4, which provided for the registration and, in certain cases, for the
imprisonment ofpersons deemed to be of "enemy nationality." ...the majority of the internees...were
civilians, of whom 6, 954 individuals were described as "Austro-Hungarianr." Most of the latter
were, infact, Ukrainiansfi.omGalicia and Bukotyna, territories then part of the Austro-Hungarian
Empire....passage of The War Time Elections Act, on I S September 1917. This legislation eflectively
disentnchised most Ukrainians in Canada, a measure so patently unjust that it was decried as "a
m~ionulhumiliation" ....No evidence of any disloyalty on the port ofthe orgcmised Ukainian
Canadian community was ever uncovered. That these measures had a desultory impact on Ukrainian
Canadian society,from which it would take the community many decades to recover, is only
gradually being appreciated. " Lubomyr Y . Luciuk and Borys Sydoruk, 'InMy Charge"
Canadian Internment Camp Photoggaphs of Sarpeant William Buck, Kashtan Press, Kingston,Ontario,
1997. p. iv Dr.hbomyr Luciuk is an associate professor in the Department of Politics and
Economics at the Royal Military College of Canada.
 Page -60-
were...connected (in the communityJ." "A lot of dierent familes who were young....go t together and
club....and &cause [the family ofhis future wifel
presented plays and whatnot, F e y ] had a CUM
happened to have a big enough house for the gatherings, so fiom then on I suppose that a fine romance
deveIoped."

Tataqn's mother is of the Kowal family. Mr. Kowal arrived in Canada in 1907, and sent for his
wife and children to join him in 1910. Mr. Tatarynls mother was the oldest of the children, so she
didn't go to school in Canada at all. She was tweive years old when they arrived and so she had had
..
some Ukrainian language schooling in the old country. Her father could read and write in U a a m m
very well, but he learned on his own to write in English in Canada already.

Mr. Tatar_~l's parents were married in 1916, and they lived with her parents Kowai] untiI Mr. Tataryn
senior got the homestead. A W y fiiend assisted the young couple, one who "had a business ..hehad
a mill at Radway that dad worked for a while off the homestead. You see because the homestead had
~I<)~ikigGii Pi ----
J V U IGU w L A - ---a
+-

-5 -A- --fie
.row- -re --.- A ntl thsy w m handica~~ped.They could&
&nh+ away-
raw-

go out to work. They were between the devil and the deep blue sea. The government wouldn't allow
them to go out and work. Even the company he was working for wrote that they would have accepted
him to work there again after he got married, but the govemrnent wouldnt allow it ...because he was an
Auslrian.... a danger to the country. He was born under the Ausbrian empire."

In commenting about his father, Mr.Tatarvn says because "he finished public high school in W e ,
which was quite high, almost like finishing public school here - higher than grade 10. So he had a good
background of learning as a kid yet." Mr. Tataryn continues that '%eread a lot. He was progressive,
..
and he was politicaIly knowledgeable, especidy all Ulcrauuan things." 'There was no national
(community) hall at that time, ........@ut] because grandfather (Kowal) was a carpenter and he built a
bigger house.it was something opportunistic for the occasion [of the cultural club having a location]. "
Mr.Tataryn senior was very involved in the community, especial&as "he served as secretary-treasurer
of Shakespeare school for many years, so he could read and write very well."
 Page -61-
m a is a Canadian army veteran having served with the anti-aircraft group down the west cogst
m the wilds of British Columbia in such places as BeUa Bella, and on the Queen CharIotte Islands
when the Japanese were attacking the Aleutians.

The Tataryn famiy home, in which this interview took place, is on the original homestead taken by his
father in 1916.

Mrs. Kav (Katie) Zibrowski (Dacbl is presently 63 years ofage. She was interviewed in the
evening of July 17 on her f d y farmstead outside of Thorhild. Her grandfkther Tirnko came to
Canada mt, in 19 11. Her grandmother Tekla arrived later, in 1914, with three sons, (Katie's dad)
Peter [who was at that time 15 when he came to Canada] among them. They came fiom Pavliv in
Radukhiv Richku in Western W e . Mrs. Zibrowski's grandparents lived a short while with
grandfather's brother who had previously settled in Peno. I . 1915 grandfather got a homestead of his
own in Abee. Mrs. Zibrowski's father, one of the three boys who came as early teenagers &om
L%rzhe, z~evedtc h k CY- hmwtead in the Thorhild area. as did another of his brothers, m 1921. She
currently lives, with her husband, on a farmstead about 8 miles Eom her parent's home place, which
has since been sold to fiends.

Her deedoQmndfather) was away often because he worked on the railway at Nanton near Calgary.
Buba (grandmother) was left to work the farm with the sons. Mrs. Zibrowski's grandparents had seven
children. "Because deedo was always at Nanton and baba stayed on the farm, they never got along
very good. I remember boba quite well. We used to go over and she'd make chicken soup - and if
there was a fly in it the whole thing went out [was thrown out]. [She was very fastidious for the time
and the place.] There's quite a story about it. She used to wear rubber boots an awful lot - and long
skirts - like she was stiU in Ukraine. the old fashioned style] She used to have a big garden...lots of
things...and she'd dry a whole bunch of peas...a whole big creamer full of peas...for pea soup.....and
she used to make borsch. She was....just an ordinary grandmother. She did work very hard, She was
a strong Catholic. I used to see the rosary on her wall all the time. She prayed. She was part Polish,
and we used to go over there and she'd say knrroplee, and we didn't know what it was,but that was
 Page -62-

potato in Polish. So we were aying to learn some of the stufffiom her. She was pretty good that way."

!The churches were built slowly, and she [grandmother] would go whenever there was [a church
service]." &ks. Zibrowski's uncles also played a valued role in building the community. They were
building schools. They were builders - carpenters. They were [also] musicians."

Mrs. Zibrowski's grandparents said that "everyone said that for $10 you can buy a big field for farming
- 160 acreas of field!", and she understands that "they had kids and they wanted them [the kids] to do
better than what they [ the grandparents] were doing there [in U h h e ] so they came to Canada ,and
each of them got their own piece of land for $10." However she continues "I d y don't know,
because we didn't really talk to deedo and baba that much, about things like that. At the time nobody
did. Now we all want history. At the time....everybody was busy working so nobody seemed to have
time to talk about [why things were done, their reasons for leaving family and eends in Ukraine]. And
when we did visit them, it was something else they taIked [about]. Because, now it's different. I love
history."

At the time "Everybody worked. Everybody was busy at that time. They use to have cattle and pigs. I
remember her [grandmother] feeding pigs.. .all the time.. .carrying the pails." About her grandfather,
Mrs. Zibrowski says ''he heed fksh &..he liked to have the window open ali the time m the room for
k s h air. There was a story about him...the kids were laughing because deedo had put his teeth in a
container, in a tobacco can...in water...and he put them on the window and it got so cold it fioze them,
so he couldn't put his teeth in. ...He was ahways well dressed and clean..very neat I think he must
..
have read in Ukrainian because I saw Ukmmanpapers [thatlhe was reading. I can't remember about
baba, but deedo read."

Mfi. Zibrowse says that '?he uncles were musical, and [the entire famiy] enjoyed singing, so that's
-.
where it's coming from - that I love it. My mother loved to sing L k m n w songs too."

m.Zibrowski's mother came &om the town of Chortkiv, in Western k i n e . She married Mrs.
 Page -63-
Zibrowski's father in 1927 in Edmonton. "She talked about how it was there, Wce it is now yet. .--when
we went there...it was the same as it was fifty years ago. It hasn't changed. So it was interesting to go
there. What they used to talk about. ..we saw it all already - which was interesting. I f e l ~ w h e nI got
off the plane...like I came home."

g a string of images of happy times as a young adult in

Mrs. Zibrowski recalls songs which b ~ back
..
this extended IJkmmmcommunity. W e used to go to dances in this old car. And we used to sing all
these songs...My brother used to drive a car...and were going to the dance. And we were driving out of
the driveway in this...sorne kind of old Plymouth. And the door opened and I fell in the ditch and ..J
get up...and I shake myselfoE.. and go to the dance. ....We'd go all the way that way and back m the
car, and we'd pick up a bunch of %ends yet, and we'd be singing all the way," Even before these times
were happily tied to Ukrainb songs,"I used to sing to the cows in the pasture - chase the cows, you
.
know....how you bring the cows home and just sing loud=.....and
..
sing when you're milking them."
Today she is very heartfelt and sincere about how it feels to sing IIkmmn folk songs. "I feel beautiful.
*
t b 1c a d6 this, Z G bi'ig
vd-
1 feel woni;&u: ~ tc p p ! e k eyes. ??ICY cry, They're happy It makes
my day. Fulfilled. That's something that I Iove to do. I don't want anybody to take it away fiom me,
ever."

Today. Mrs. Zibrowski sings in the Ukraman Catholic church choir as she has for at least the last
9 .

seven to eight years. She has a speciai kind of voice which the parish priest has commented on saying
it is "not loud, just distinct." 'Everybody says that I say the words so clearly that you can understand."
She makes every effort to have the lyrics and, in the case of the "goo@ wedding songs" that she sang
during the course of the interview, the double entendre in the songs was clearly understood. At the
same time, Mrs. Zibrowski has a very interesting coping style when it comes to her Ukrainian language
..
skills. 'We took Ukrainian very little - they were giving us Ukrauuan Krn school] but I learned a little
bL.1 never took very much. So I could read a little bit-i-[
.. but it takes me long."

Mis. Z&rowskils singing style is heavily punctuated, with purposefd and expressive knowledge of
vocabulary and nuance. Many songs were accompanied with heavily rhythmic toe tapping.
 Page -64-
Mr. Bill Labatiok was born m 1930. Both of his parents were born in Ukraine but in different
Iocations. Mr. Labatiukk father came to Canada as a very small child (112 year old) with his parents,
f?om Mamaiesti in Bukovina, Western Ukraine in 1902. His grandmother had been born in Lankowets
m Bukovina,

'They came because of the availability of 'freelands' ... They came...as far as I know together.
Grandmotheis brother came. He was married, but there was an unmarried brother that came also. It
was grandmother's side that the extended family came. They settled in area that was still available and
still rich, fertile. Grandfither's homestead is sixteen miles north of Vegreville, and a mile to the west."
Although the farm no longer is in the f e y'The spruces that he [grandfather] planted there in his
b y a r d , in his yard that the house was in, are still there and growing. Two spruces side by side."
''The church there that grandfather was a founding member [ofl is the St. Demetrius church in Luzan.
The church is six miles to the south of the town of Willingdon, and a mile east."

- -*.
Mr. Labatiuk's mother was born I ~ u m4 maon, Sniatin area, 'riErlj&iji& 'ATestwtcCnNkie. S k a1:t
--a.

to Canada in 1924 as an adult of twenty years. ''Her father had been in Canada before. She also had
some uncles that were [in Canada]. She was the first of the children to come. Her father had gone
back and visited, and then went back to Canada. Then she came to Canada." "She came to a family.
The ships' travel she'd rather not remember. It was dficult. The train wde]was long. She was met by
the family from Mundare in Edmonton. None of her f d y [ttavelIed with her]." 'Wer father had
been in Canada for quite a few years, and one of her uncles was also here. One of his acquaintances
[fkorn] around Mundare had signed [thelrequired [papers] so she came and worked in the Mundare
area. This is where dad Labatiuk, my dad met her, in the Mundare area."

Mr. Labatiuk says that "she was there for Iess than a year, and she and dad were married July 3 1, 1925.
"Nother] and dad had met, and then there was marriage, and then there was family. Eight of us in
kt.''By coincidence, the date of the interview is Jufy 3 1 and Mr. Labatiuk realized that his parents
had been married on this exact date in 1925, and wished them ?happy anniversary mom and dad!" 'I
was just thinking, July 31, thatfsjust after spring work and hayingyand before harvest So it was just
 Page -65-
before the busy season. Dad had besn involved m early threshing crews, operating a threshing
machine. In 1932 they moved to the other quarter- That's what we're callingthe home quarter now.
They did some breaking of new land on this quarter. The older children (Iwas one of those older
children being the fourth) remember picking roots h r n the breaking. The chilckn also enjoyed
mothds stories of her earlier experiences. One of their favorites [wasabout] when as a new bride
[she] was cooking rice in m a and rice was unknown in Ukraine in her background. So she explains
[measuring a cup of rice per person] this was how she figured how much rice to put m this milk. And
she put several cups of rice into the milk. The rice expanded as it cooked, so she put it in another larger
pot, and then into a second pot. Rice was on the menu for the next several days. The story goes that
there was so much that she put it someplace, hid it fkom dad!"

J'vlr.Labatiuk's 'Father's homestead was two miles f h m Norma, At the time there were three stores,
two chop mills, one blacksmith shop, a shoemaker, a pool hall, a dance hall, two elevators....yo u
know....big. And of course there's nothing [now]. One empty deserted school house, or teacherage,
Yo-j1st p r it QC the r d ifyw 30 fmm VeFviUe to Willingdoa"

..
Mr. Labatiuk says '7wished I had paid attention and learned to read and write [in LJkmman classes
offered in the after school hours by his school district, by the same teacher responsible to the
Department of Education]. I could talk it, and understand it, and so it was easy to bluff. @essons
involved] a lot of rote memory, and a lot of these songs are fiom memory, rote learning...put he doesn't
feel secure with all the lyrics to all the songs because] you how the kinds of stories there
are..[sometirnes there is a difference between] what is sung, and what is heard."

Mrs. Anna Zwozdesky was interviewed on August 5,1997 in her home in Edmonton. She was born
around Gardenton, Manitoba in 1922. She is second generation Canadii 75 years old. Her
grandparents on her father's side came to Canada in 1897 fkom the village of Horoshova in Halychyna,
Western Ukraine. This small village on the Dnister river described by her family, was a beautilk1 place
to live. It was being administrated by the Poles, and they did not give the people the opportunity to
..
prosper £inancia&, or to educate their children in Ubarman. For this and other reasons, grandfather
 Page 6 6 -
always said "Iwould Like for my c h . slives to be a little easier - be=." They were among the
first groups of immigrants to Canada h m that area.

Other families fkom the same village travelled together to Canada with Mrs. Zwo&&&
they decided, as a p u p of familes, to go to Canada.
grandparents. "Onthe advice ofa Dr.Oleski~v'~
They thought it was a good opportunity to go." They travelled somehow through Bessarabia, by ship to
Halifax,and then by train to Winnipeg. 'Theywere going to Winnipeg. They had been told ofthe
good land there for farming, and so they were going there kt, and then they were to decide where to
. -
homestead." When they arrived at a Lkamm settlement m Manitoba, "There were already people by
Gardenton, and they had already started the church. m e Gardenton church is over 100 years old.] At
first, the land they were shown was just rocks. Rocks upon rocks. Not fiu h m Gardenton." 'My
f5ther was born in Canada."

m.Zwozdesm mother came to Canada as an infant of one year. "Mother's family came together -
grandfather - grandmother and uncies, arurries. Tne whoit; ~ i i ~ ~ i if-,zA"j'
t c d e;Um.z. EL^ + b y
already in 1901. It was happier for them." They came from a village called HroshiMsi, in Bukovina,
Western Ukraine. Mrs. Zwozdeslq's grandfather on her mother's side could read. Because he had
volunteered his time to read to other people in the village community hall, people knew him. A fiend
-
who had known him in this capacity had invited the family to come to Canada and so they came to
live not far Earn Sheho, Saskatchewan.

"A drivingforce behind Ukrainian rnijpztion to Canada was Dr. Joseph Oleskiw, a teacher
of agriculture and social activist who quickly recognized the potential of ernigtutiion to Camda as a
solution to the problems of the Ukrainianpeusan w . . H e took it upon himseIfto initiate o
correspondence with the Canadian Department of Immigration, in which he outlined the acfoantages
to both sides of a large scale emigration of Ukrainianpeasants to Canada In 189s he made an
extensive tour of the ~anadian p&iries, and upon his return wrote n book-, entitled 0 em- in
which he gave detailed information abou the new land to the prospective immigrant." Zonia
..
Keywan and Martin Coles, Greater than Kings. Ukrarman Pioneer Settlement in Canada. Harvest
House, Montreal, 1977. pp. 2-3
 Page -67-

Mrs.comments on her family's position during the years she was a small child m
Manitoba. "Wellm the old pkce, we had started to do better [financially]. But that was very poor soil.
So when dad started reading in English..." 'Well it happened when my fither started reading about
land and homesteading, and he found some in Nipiwin, the Carrot River Valley. There, it was flat land,
black soil, and no rocks anywhere - such f i t land that you c d d see the combines far away, 8 miles in
the distance. It was very nice there." discovered news about an area in Saskatchewan] ...in the
Nipiwin area....the [settlers] were people that came fiom England. They settled them there because it
was wondex6.d land, a w o n d e f l area. But the English people were not used to the hard work, and
that's why they lost their homesteads [she is talking about the early 1930's when droughts hit
Saskatchewan]and they moved back to England Some of them stayed, but then when tk homesteads
went up for sale..." h the 1930-32period 'We moved there as a family when I was ten years old
already." 'Well it was not a area, so my parents wrote a letter to the UIarainian Voice [a
Ukrainimlanguage newspaper which still exists today] and said whoever wants good soil for farming
should come out here to Nipiwin. And soon there were people sleeping on our floors. And whoever
m e , each one bought a homestead. &&Ione h i & s ~ i zkiz~i. Veq; ;.zy peq!e CZ.IZK gd they
created a big Ukrainian community."

Mrs. Zwozdeslq says that 'Mother's famiiy was very songful, musical. They sang very often. The
wreath weaving which we did, is the way my mother sang. She always sang for wreath weaving. She
was often joined by her husband's mother, together. And so we learned a iot of songs fiom them. We
sang a lot." "Grandmother and grandfather also sang. I remember once we were sitting against the
walls on benches, we sang until it was time to sleep. They loved singing but they atways sang such
songs of longing, because they came here and knew they would never return to Ukraine. Whenever
they would speak of it you could feel the pull, the longing."

Jbks. Zwozdesky says the tern used to refer to the women who sang the wreath weaving are referred to
as "svashki,a chosen few women who lead - but everyone sings". "Themelodies come from well over
a hundred years ago. These are the ones my mother sang exactly. You see her f k d y all came
together, and you see they all sang!"
 Page -68-
.Zwozdesky insists that 'Thave loved to smg always. I always remember when we used to get
together m our house - and they'd be putting us to sleep. Because it was one room, with a little
kitchen...well it was a starting borne]...they'd be putting us to sleep here [gesturing in one mm],and
themselves sating m the living room on these long benches, behind long tables. And they arc singing.
And I'm covered up in bed and listening. I always wanted to listen. And with my mother, because she
lived to have 92 years, we had a chance to benefit a lot h m [om time with] her. She came here with
yet. (She was too young.) The uncles were
her mother, and she had an auntie aIso who wasn't fllt~ll~ed
married. They took all of Bukovina with them. That which they sang was...precisely Bukovinian.
There was strength there. And when they went to a wedding (I
remember this h nwhen I was young)
and they started dancing the kozak together - well that was something special to see. And 1am so sorry
that nobody ever thought to learn that dance fkom them. It was so speciai. You couldn't not watch it!
And they danced together, all in time."

Mls. Jean Bidniak was interviewed on August 7, 1997 in her home in Millwoods, an area in south
east Edmonton. She is second genc;tauuri LUIUWW,
n---J:-- -
m a ' - - --J ----... -. - -
u w+u k ;m 1 Q 2 C ir,the A--
n & p- w
..a a , Her
grandparents came to Canada in the 1890's with the fim wave of immigrants, as a young newly
married couple. They came to "seek an easier life, to have more opportunities....more freedom to better
themselves".

Jvfrs. Bidniak's grandmother and grandfather came to Canada and "Ithink they went with some of their
neighbors that they lived near in the old country] came with, and they settled with them.....about
two miles north of Radway. When I was a child it was Sunland post office."

Jbfrs. Bid*& memories of her grandparents, the k t immigrants - 1remember my bubo

(grandmother) saying how diEcult it was [ m the early years]. Deedo (grandfather) would go to
Edmonton to get a sack of flour and she'd be left all alone nearing] wolves howling. I would have died
of fight h m it myself. The conditions were very hard, crude. They Ilved in this little...mud hut, I
guess. Pretty crude conditions. I don't really know what they lived on, must have been roots and
vegetables in the summer but I don't know what they had the rest ofthe year." The immigrant
 Page -69-
generation had a routine that ahnost all followed. They would plant the crops in what little land they
had cleared to meet the legal requirements for keeping the homestead, and then the husband would go
away in the summer months to work for a cash paying job. We was away for months because he
worked on the railway [while crops were in, and before harvest]. She was alone. She worked many
times, a tot [when he was g o d alone. And nobody would be there, nobody even to scream *..or
whatever. It's fkightening when you think back"

m.Bidniak recalled 'yes, they would tell us their hardship stories. Thefd get fire &omthe stove,
because they didn't have any electricity, so the houses were very dim. We&just Like we watch
television nowadays, they'd listen to stories for hours, and not get bored, because they were true
stories." " I remember how babo said, she was left alone, especially if she had a baby on the way, all
alone.....She said there was not much fbod, not much of anything, she was all alone.!"

Mrs. Bidniak's father and mother are oflipring of the first generation immigrants. Their home life was
similar to the first immigration in many ways. "When per] dad would work on the railway, [and] when
he quit in fall to come home, he walked back fkom someplace Iike Rocky Mountain house, very far
away in the mountains. And he got back, brought back home, walking, with a two foot piece of rail for
an anvil, which weighed 120 pounds. He carried it entire&, 200 miles! That's how hard it was for them.
They'd stop at people's places [on the way to work in spring, and home m fall] and people would share
their meals. For the whoIe summer they &hemen] stayed and lived in the bush. But to carry a 100
pound r d on the shoulder...I don't know how he did it!"

Mrs. Bidniak recalls her grandparents and the music making they did with the family. ''Well, deedo
Wre to sing. Baba was rather shy, but she used to play the sopilh [a flute like instnrment]. After we'd
go to bed, we'd hear her. She'd be sitting,warming her back by the stove, and quietly play this
 Page -70-
instrument. She was so shy, she'd only play it while we were in bed. It was such a soft sound that it
almost lulled you to s1eeq really." "Iused to hear grandfather sing at weddings. We -sed to visit
Smoky Lake, where he was in the old age home, and he stilI used to sing."

C. CONSOLIDATED RESPONSES TO THE INTERVIEW QUESTIONS

The responses offered by the informantshelp to explain their personal relationship and connections
with various folk songs and the signScance of these songs in their lives. It has bemnecessary to group
the results in order to reach some ultimate generalizations.

a). folksonas which link directlv with the irnmiarant aeneration

Mrs. Tataryn most vividly remembers singing Christmas carols and Easter hymns at home with her
family. Although her "motherhad an excellent voice and she h e w all the songs by heart"they didn't
have much time for casual, or social singing m the home. "Oh, yes my fiather would sing along too, but
hc =v"3!Z ~ s y gos tc mnther f ~ approval
r because she had a better ear than he did." "Ofcourse we
sang at Christmas time. And when we had guests, or it was a special event, well there was lots of
singing then. Wherever you would go after the meal there was always singing. 'Ibis was sort of the
entertainment. But the children were never involved in the singing. The children were in the
background. They weren't involved quite with children the way familes are today. And so we b e d ,
and we knew the melodies. We liked them, but we didn't participate. I don't know why." "AsI think
about if it was altogether a drfferent time. With such a large family, md both of them working so hard.
Mother worked not just in the house. It was helping out in the fields and having all those children!"
She obviously had little time to herselfor fur the smaller pleasures m We. "She didnt go around
humming. She was too busy to go around humming."

Mr. Labatiuk remembers 'five, h m childhood have always gone to [the services by the graves] and..At
Easter when we all get together, we ahways [extended sing that one. "XPHCTOCBOCK^!
Khristos Voskres. Folksong #lo41 "Inh t during the Easter season when we go to church, either at
Luzan or Pruth, when people go to venerate the cross we sing this one.
 Page -71-
..
Mr. Labatiuk knows and sings many classic UkmmanChrisanas carols, which he referred to by name,
i tseeleem sveetee, ~ o k o n #83]
however the carol no uiniv c a i ~Po g 'this this i s m &randmother's side
of the M y , but this is a historic one." 'We's harvesting the grain and teUs them [those chasing Mary,
Josepbthe baby Christ child] they went when he was planting grab- But there was a miracle there.
The grain ripened and ....who were following [Herod's people]."

"She never wanted to go back to Ukraine to visit. And yet I remember she knew the song [CToin sip
HW B O A O ~Stoyeet yweer nad vodoyou FoIksong #96] and we often sang it together." Mr.
Labatiuk made an interesting segue fiom the idea of ''hlym country, U b k e , whether specifically
Bukovina or not ..."in the song Stoyeer yaveer nud vodoyou,to the song KO= sini3mae Kozok
vee+eezdazhaye, Folksong tt3 11. He commented that "my mother lived during the first world war.
Remember, she didn't come until 24. They had cannonballs flying over there. Theyd go down into the
cellar, dug out cellar below and cover it with a pull-down trapdoor. And when they lit fires in the
stove for cooking, quickly they would cover them, smother them, so the fuel wouldn't b u m out This
GZSa paii of her. She ymbe= h '& ...
so,I fim 1914-1 918 she was fiom age 10 to age 15, during
the war, the first world war." The song OR rnana ~ i a w n OnHOrO
a a , mulo deevchina odnoho
~ o a a ~Oi
kuzaka Folksong #54] comes h m this time also.

What do these songs mean to vou?

About his reasons for singing Mr. Tataryn says "first of all it cheers you up a lot. It creates a good
atmosphere in a group. And [beingin a choir] gives us a change to sing, to practise together. The only
thing is that my time is short in singing already. Pm too old to sing. This is a f m of Life. No matter
who you see. I feel in the last year I've been losing my voice all along. a d I can't help it. It's a fact of
life. But I enjoy it [singing]even if it's in a hoarse tone.

B. -folksongs learned in a social. cultural. reli~jous.or other

The sociaVcuItural organizations in which his parents participated, in the earb pioneer &YS formed a
basis for Mr. Labatiukls folk song repertoire. Mr. Labatiuk says "Iremember dad performing, acting in
some of the [community drama-night, plays] on the stage,[in the community halls that are still used in
 Page -72-
the area, even todayJIremember being a wee tike there and seeing dad there on the stage...all kinds of
costumes..." '1remember the [drama plays and concerts] at Warwic~anothercommunity in the area]
and that's where I k t heard the song C ~ o i n
ropa ewcolca Stoyeet hora v i s o ~ Folksong
a #], and
that's a beautifid one, and that one comes from a [drama play]." Thepredslovlennyo was a play, a
story that was also sung, interweaving folksongs...a lot of these were performances with music, not
with just conversation, but singing, in groups or ind~duah."

C. s i n h e in recent recollection
Mrs. Shwaikowski has been mending after a lengthy iltwss, however she reports that two days after
being discharged h m the hospital, she attended a choir party. After a barbeque supper, someone
pulled out a guitar, another an accordian and they sang folksongs all evening. The last song that
evening, Ae arona B poa~niDe Zhoda v Rodinee, Folksong #19] is of particular importance "in the
community. Itk sung not only at d e r s a r i e s , but at gatherings...it's a culmination song at gatherings
among L k a i . n i ~Well,
. people gather in a circle and cross their hands in f?ont of them and join hands
with the person next to them. And everybody in the building, everybody there joins in it. Whether they
sing it or not, they join in the joining of hands. That makes this a symbol of unity among us. ...This last
party we were at ended up with i t People like to culminate [gatherings] with i t "

D. seasonal chores/activities done at various times of the year

..
Mr. M u q h indicated that cranes have a special place in Lkramm folklore. Ft is very interesting to
note the kinship with nature demonstrated in the following reference to geese, as distant relatives of his
family.] When his mother was missing her home, watching their distant relatives, the Canadian geese
fly south during the fall season after the harvest, was a difficult, emotional time. It was a community
tradition to gather to party and sing in celebration after the harvest season, but "at the snap of a finger
we're in a different mood". Although the harvest was a joyous time, he remembers events such as
being strapped for speaking Ula;linianon the school yard, and feeling like a second class citizen He
says that in pubtic, the Ukrahkmpeople would not be so forward, especially when the RCMP B o y d
Canadian Mounted Police] would always be either English or French He says that at Ularainian
gatherings people would say "enough of this gaity, let's reminisce about other things, and other times".
 Page -73-
He believes that there are many purposes for singing a particular kind of song, in particular the ballads.
'31that way, you feel vindicated ...[about] whoever you are, [although perhaps there were feelings of
animosity in the community, and polite relations prevailed, and ] you couldn't say it against somebody
else. You are now part ofthe community, and part of the world" Mr. Muzyka intimated that the
public sharing of these troubled feelings, especially in veiled format such as in these folksongs, made a
person feel stronger, "exhilemted, I guess...definitely!"

]E. 1.) songs about courts hi^. love

About the song UJYMHT~raii 3 e n e ~ ~ Shoornit'
G Hai Zeleney, Folksong #I 111Mrs. T a w comments
about how incongruous it seems to be singing a courtship song, as a senior, however "Ilike singing it
because its kind of a [lesson]...I guess if you are older you urn laugh at it or something. He's saying
he's so sincere, but who knows [what will happen] next time. Dt makes me think of]just growing up,
and knowing where things like this have happened. And you know when you come to the last one
[verse] where he's so apologetic and you think.." Mrs. Tataryn wasn't convinced that the young man in
- 3----
Ulc "llS w u-----
+--I-- Ur!Va---*
U u A J -- ---
nn-tb rnrl b l i ~-- ~ d the folkone made the point of highlighting, in its
v that
--Lr -.-
c.

last stanza, the ongoing question in persona1 relationships, "will they be true to their word?"

About the ballad 6 3ene~ifia o n n ~ iVZelenee Dolinee, Folksong #lo] Mrs. Tataryn tenuously, and
very quietly explained that "she was a very popular girl. I guess she didn't have the opportunity to wear
a wreath, or be a young girl and be a bride. It makes me think that maybe sometimes she might have
become pregnant and never had the opportunity then to be a bride. Because in Ukrainian culture, if
you had an illegitimate child, then they said you couidn't wear a wreath, even if you got married. So it's
a sad song."

The song Bmis K HaKfinwty

O ~ ~ Vileez Kozak no yalinoo, Folksong #11] was sung by both Mrs. and
Mr. Tataryn. She insisted this was a m t ssong. They smiled as they sang this song, again perhaps
wondering at how incongruous it may have seemed to sing about coursthip as seniors. They were
hesitant with singing forthrightIy though. I instantly recognized the coded vocabulary about taking the
horse to the well. Mr. Tataryn wanted to continue veiling the significance by saying that it was "a
 Page -74-
romantic song about conditions m the village," They were both avoiding explaining the significance of
the imagery until we discussed the verse where the mother asks the daughter in which she's been going
in the evening, and I realized that they were uncomforable talking about 'king badf1.And they had to
admit it was so, amid embarrassed laughter. They understood the hidden message, but were not sure
they should share that with the interviewer.

The song q o p ~orua,

i w p ~owa
i FIK TepeH Chornee ochh, chomee o c h h yak teren, Folksong

#I091 was termed " a betrothal song" by Mr. Tataryn. Mrs. Tataryn then explained that the girl is
"promising that she won't go to live with him m his p m t ' s home. She won't go mtd he has a house of
his own. So [Ibis solution is that] they will live just out in the woods - so romantic!" The song seems to
hint at the larger group of songs in Ukrainian folklore, about having to live temporarily in the home of
the mother-in-law, which is taken to have largely negative connotation. The Tataryn's however did not
speak forthrightly about this aspect of the song during the singing. The song seems to have a romantic,
idyllic conclusion.

One of Mrs. Zibrowski's favorites, learned fkom a time when her father and mother sang is Oii T ~ Mnin
ropy, T ~ AonnHolo
M Oi tam peed horoo tam dolinoyou, ~ o l k s o n g#69]. 'There's a favorite song they
used to sing all the time, and I just, from my head, fkom remembrance, wrote it down for myselfand I
sing it now." It's a song about 'two lovers sitting in the meadow, and they were hugging. A hawk
came along and broke them apart. The maiden didn't want to Live because her lover was gone."
Another song which her parents sang 'kcause they came fkom an area in the Carpathian mountains,
this is their song. It was memories of their Ukraine, the mountains theref' is Y ropax KapnaTax, 00
horakh karpatukh, Folksong # 1021.

E. ii.1 marria~es.weddina ~artiesor anniversaries

Mrs. Zwozdesky says "The wreathweaving [songs and ritual actions] are our heritage &om my mother.
We've kept them and used them. We sang them with her." But for this wedding preparation m the
summer of 1997, 'We changed it a bit so that the younger people wouldn't forget at least the blessing -
the ~ W B ~ H O Kbarvinok [periwinkle1, and other things. Between the traditional ones [song selections]
 Page -75-
we sing the folk songs [the h o w n in the community repertoire of folk songs]...the ones the young
people here sing to include them so as to have it interesting for them to be with us because although it
might be interesting to hear only the traditional songs [they should also @cipate actively in the
process]. ''

About the 6narocnosenn~,ritual of blessing, a significant part ofthe wreath weaving, Mrs. Zwozdesky
says, "The blessing is very ancient It comes h m a time even before Christ This thought that father
and mother must give their blessing. In our tradition you see, when the greetings were made, these are
our greatest guests. They give the blessing, because this is the highest honor we can bestow upon
someone. It's important to explain why we do this. The blessing says things like, may you and yours
never have to go hungry, may there ahways be bread and salt in your home. It's ...our most ferventiy
held wishes being bestowed upon them." 'That is why we undescore it so. We want the pair [getting
married] to h o w that this agreement [to marry]has happened with the blessing of the entire family.
And for the young ones listening to know also that all this happens around the fathers table. One must
behave honorabiy. Receive ihe biessing and 'be p~p&ii.d d f z d KG.?kt kc...=&,
hi ~ i i ~k ~i iiiiii
they went, they ran away somewhere, and got married. Later they worry, well, maybe I didn't get my
father's blessing and maybe that's why my Life's not going so well!"

Mrs. Zwozdesky says "At one time,the wedding didnt take place together. [The groom's people
journeyed to the bride's home, afterwhich the wedding train [or processional] took the married couple
home to the groom's family place for another wedding.] The young man would come for the young
woman. And it was that way in the area where I grew up. My wedding with Ilia was at my home
however...When we got married the young man couldn't come for the bride, so the wedding was all in
our home. And that's how we combined things for this wreath weaving [for the Wzwyshyn family].
That part about the young man [taking part in the wreath weaving celebrations] we put it in there on
purpose."

About the song Ao6p~R~erlipnane csa~oseDobrey vecheerpczne svafove,[Foksong #21] Mrs.

Zwozdesky says "It'sso beautifid when they [the groom's people] come into the house - and bow
 Page -76-

before the gathered h d y and greet the parents."

The song P a k b ~ Aepeeue,

e p a k b ~ eRais'ke derevtse, rais'ke Folksong #88] is the time in the
wreath weaving ceremony where Mts. Zwozdesky has adapted existing rituais to the circumstances.
When the groom's men enter the evening gathering, they bring in a small Live pine or spruce me. The
gathered community then dresses the tree with tokens symbolic of their bestowing special and personal
good wishes. hks-ZwozdesQ commented on the visible symbol of the tree of Life, having its origins in
ancient times. She says that h m that time, when you see an embroidered shirt with a tree symbol,
that's an indication that the shirt is a wedding shirt 'It's important. In my home these things are
important-"

The song Tm ci~lnocpi6m, WnoTo Tam seeyalo sreeblo zoloto [using the same melody as Folksong
#68]eiicited tears, and this comment as an explanation fiom Mrs. Zwozdesky "My daughter, who
drives me [to these wreath weaving celebrations] says, sing this song, mother.. And I say,but cry.
Cl t .1
3ne Says, uW"s Ol-*-- --
uZrrcl r+L-+l
uy, L ~ulorj 1"- r r j .ha-
*m--r-p
*-.-
U-I
ot the
+ha- , , w=v&!'* She is very moved when
..,,-,,
, -nth

the song refers to venerating the ikons, taking an enduring oath, and silver tear drops.

Mrs. Zwozdesky says "Other people obviously must do the wreath weaving but I don't know what or
how much they do. There must be others who do this too. We have had to turn down an invitation [to
sing for a wreath weaving] because it was to happen at the same time as our [I00year family reunion]
anniversary."

The songs used in the wreath weaving are special to Mrs. Zwozdesky and her family because 'You
see, these songs, as I say, we sing exactly as they did. know this because] we sang with them all the
time."

Mrs. Zibrowski's repertoire of "goofy wedding songs" includes K a r e p ~ rperlKy

~a nonona K~terina
hrechkoo polola, Folksong #30] which again contains double entendre, or hidden meaning about a
young maiden weeding buckwheat, and getting a bloody stain h m the prickly thistle. And the advice
 Page -77-

offered in the song is "she doesn't do it, and so she gets no thistle." The song K m a MU M ~ T HKazaIa
m i mati, Folksong #29] is advice for the youug man, "not to blame her that the quilt's cold - what kind
her mother had that's the kind she gave. And then she says wait until [the feast of Sts. Peter and Paul]
Petra, that's a holiday - July 12 and then it will be warm." She had rezently sang at a 40th wedding
~ hxetiH6, Na Scho zh ya doorney sia
anniversary and for the groom they sang Ha uox R a y p ~ CR
zheniv, Folksong #MI." Well, it says why did that crazy fool get married." "So these are the kinds of
things [song selections] that you do at a party. We sang right through [all the anniversary festivities]."

Mrs. Bidniak remembers that her father used to sing the song Looche boolo (which due to verse and
first phrase is referred to as O i Ha ropi, tra ropi Oi na horee, na horee)[Folksong #571. A song that
Mrs. Bidniak's grandfather used to sing, that she still enjoys singing is Ofi n i ~ c r U
~ Y~MoH T ~rai4 Oi
Deevchino Shoomit' Hai,Folksong #49]. 'That's a song that granddad used to sing. I love that song.
I love the melody...and I would say [is a courting song] so."

C. CE.,i!&wn'~ cnyvc
-
Mrs. Shwaikowski says "These I learned at home fiom my mother, and I can understand why they
would have been among the first I would have learned because they are very short, and very easy to
learn, I believe." For example the song Twwosann unrui, Tantsyowoli Mishee, Folksong #99] " is
about the mice who were dancing, and ate baba's loaf of bread. But when they heard her coming they
hid in a hole. And when she came back and the loafof bread was gone, she shouted, wailing very
loudly. And that's the kind of a humorous Little song my mother sang. And it was funny." About the
song nlo~ye~ i ~ Lyourooye
e p veeter, DIksong #35], the song about a sparrow in winter she says "it's
teaching...ifyo u do good to others, then no doubt they will reciprocate with good for you...or you will
receive thanks." She comments about the deed ee baba songs (grandpa and grandma songs) saying "
very often the deed ee bubo songs are so humorous, and they teach a bit of a lesson also", such as in the
song Iliwoe ~ i tla
n T P H ~ H , Peeshov Deed nu hribi (Grandfhther went for mushrooms), Folksong
#79]. " A little bit of a message there too. If you work, and ifyou get up early and you work..and you
t a k care to prepare things...you will no doubt prosper, and not be hungry. If you decided to get up
late and do as little work as possible, you're apt to go hungry. Good lesson for the early pioneers!"
 Page -78-
. . summer school in her mid teens in Winnipeg. She r e d s a
Mrs.Shwaikowski attended Ukraman
particular instructor that taught singing, because the songs presented an entirely new genre to her, the
spring songs, games and dances called haiivky. "At that time, where we lived, those songs weren't
familiar to us." "Ilearned probably a few of them from a very, very old man in Winnipeg. At the time
he was ancient. We thought he was. And I must have been in my early teens." The reason for their
iutroduction seems related to the teen experience. The singing of these haiivky, and their lyric and
purpose are described by Mrs. Shwaikowski as, "itrsa courtship thing."

Mrs. Nadia Shwaikowski's contriiution centered primarily on children's songs and k d y songs. Her
hvorites, one suspects, are the first few she offered, Ky-Ky, Koo-koo, and Eiara~oCOHWBCIOAH,
Bohato Sontsya Viyoudi, [Folksong #I]. Of their significance she says " it's not so much the text, as
the context F e s e songs are &om a ] happy time in my childhood, and t tried to pass it onto my
children, and the children I taught. And I was very proud to learn them and I was very proud to sing
them to my parents and to anyone who would Listen." She feels very fortunate that although "children's
songs weren't usudy sung when a ~ u gathered",
h her morher sang many of these cld&:ri'a sofigs iir
her as a very young child. The songs in this genre in particular bring out "a warm feeling of family and
love and protection."

G. historical or patriotic son&

The song OA y n p i qepeona KanHHa, Oi 00Loozee Chervona Kalina [composed] has a breadth and
depth of meaning for Mr. Muyka which he describes so eloquently. "It's the fall when the cranberry is
red. And usually when it is ripened, it kind of bends over, as if it is, well, enduring some kind of
sadness. And thattsthe same thing with h m e at the time. During the early historical feral, they
were always on top, but afterwards we somehow lost, and were subjegated by the other countries
around, because Ukraine, known as the breadbasket of Europe, well everyone wanted a part of h And
somehow, a few years ago when we were in Ukraine, we went to see the area where Shevchenko, our
reknowned poet is buried at Kaneev. And we were..Plorence, my wife and I, were sitting in the fiont
seat and aIi of a sudden the bus stopped. And I looked [to sewhat's the problem. They were putting
a water line across. And I said, may I go aid see what they are doing,just to see. Their machines
 Page -79-

looked p r e q crude. And he said, I don'tadadvise it. He did& say why. So I said, it's may be 6 to 7 feet
deep, and he said, no it's deeper. WeU, they have to lay the water line... on something that's solid. The
ditch that they are digging is anywhere between four to five meters deep, And he said, that is black
soil. So right there, you have 15 to 16 feet of black soil, and what we have in Canada is...[a paltry few
inches]. So that's why they used to call it the breadbasket of Europe. That's why during the fkst world
war, I know some young fellows, some of my relatives [related this to me]. The Germans were gomg
back And bringing their munitions to the h n t , and going back, they would have these young feUows
go ahead and fill their cars, the eain cars with soil to rake back to Germany. And this song brings out
all these feelings. This is not quite a patriotic sung, because there are other such songs. But paintings
and embroidery always have the red cranberry. It's there and it's bent over.''

Labatiuk says that much of his repertoire comes from his mother, h m a time when she retold, through
song, the experiences she had as a young person. '1remember gatherings at home, singing and
learning songs here and there, but really the most I remember is fiom my mother." A song which he
connects directly to his mother singing is 01 uana aiwnna oanoro Oi maiu odnoho bzakz,
Folksong #54], which is about the death of a soldier. "It wasn't his horse. He's serving in the m y , so
it must be the King's horse." The last verse uses the terms m n o m i ~apmneu,vupnorn ee kurbolem
which Mr. Labatiuk commented on "so that it would decompose sooner, lime and carbolic acid [was
placed on the body], so as not to leave behind [any recognizable trace of whose body it was]. A strange
thing about that Why did the captain, when mother and father came there, say it is three days since
your son married? And I guess there is the union with God being really a metaphor for the fimeral. I
remember asking mother why [the h e and the carbolic acid] and ....we knew lime was for
whitewashing the house...and it bubbled....that that was the reason..." ''This would be a song that she
learned. She was only 20 when she went &om there [Ukra'ie] She was there during the first World
War,and guess what they were doing when they were downstairs m the cellar, or upstairs with
blackout?...and [with] as little light as they thought they could d e f y use? Songs. This was the war
period She left Ukraine at the age of 20. A lot a lot of that period from age 10 to 15 was wartime.
Some of those years they had cannonballs fly right over their roof!"
 Page -80-

h k Tataryn recalls "my mother and auntie had wonderful voices, so they could really sing, and they
sang many cossack songs-" When asked how he came to h o w these songs Mr. Tataryn commented,
'There's confusion between what I learned, and what I heard. Listening, and then learning them in
schwi [are two ditrerent, and not necessarily coatextualizedsteps here] because we learned a lot of
them fiom Miss Kuchinsky [the public school teacher was of Ukra'rnianbackground]". "They used to
learn songs Like that for programs in the area Quite often they would have a concert in Radway. [and
songs like Pew Ta cTorHe, Reve la Stohne, Folksong #89] m s i ~Zapoveet,
, me composition
referred to as the Testament of author/poet Taras Shevchenko],Bimn B~TPH, Veeyout' Veetri,
[unfortunately not collected], and many more which he Listed but did not necessarily sing would
comprise a part of the program]. His memory of cossack songs, especially the one about Peeyxa,
Revookha, Folksong #67j elicited the comment about his 'parents singing late into the evening, but
then b e ] needed to use the book to learn the words".

H. personal/familv life
Mrs. Shwaikowski Iived on the f m , near fatnijY an^ friencis as a chiid. '"weiisd tci spcsd +&.I
cr
four days celebrating Christmas, and C B ~eeqip
T Svyat Vechir (Holy Eve Supper) was always at
home. And because it was the middle of winter we didn't go anywhere, we just celebrated in our own
family. But then the second or third, or fourth of the Christmas days we would travel the mile and a
half or two miles to my uncle's place and had Christmas there. And my aunt would sing aIl these
carols." About the "fairly old Ukrainian folk carol" B Buc#meaiiBO o ~ e Vi VI@-yeme, Vo Youdeyee,
Folksong #6] she says "it's interesting how carols can even insert a little bit of humor in them. I think
people made up the songs as time went along to bring it closer to their personal life." The carol B
B@meeui tioswa, V VifleyerneeNovino, Folksong #7]'Wls the whole Christmas story. And it
reveals a lot of faith, a lot of gentle reminders [of how to Live in the faith]."

About the nnmannsi plyasannya song n p ~ r u n

40~ 4 s e p ~ xrompcc xnona, Preyshli do dveryakh
chotiri khlopi, Folksong #86] Mrs. Zwozdesky says "this issinghrg which i s done in home where
there are girls living. Some boys enter in the house. She sits in a chair and has some money in her
hands. The boys do dance steps around her, and having taken their hats ofE expect her to throw money
 Page -81 -
their way. The longer they sing and dance, the more money she is expected to give. But if they can't
sing or dance well, they get less money." This song plays a part in the cycle of courtship songs.

Ofthe song OH nicly R nyrou, nymu Oipeeduo yo loohom, loohorn,~olksong#64] Mrs. Zibrowski
comments 'That's because the marriage wasn't good, that's what it is. He's sitting there...he doesn't
want to work because he's thinking that he's got a very bad wife. So she told him that you took me in
broad daylight. Your eyes didn't come out. You weren't blind. The whole family was there and
witnessed So he wasn't blind, he should have hown one way or the other." The interesting segue
fiom this song to the followmg which is '@pertaining to a daughter-in-law's troubles with the mother-in-
law" called ropina ti nanana, Horeela ee PaZala,~oIksong#1 gave the impression that these songs
have been shared out of real sentiment about the relationship her grandparents and parents might have
shared. M e r singing the mother-in-law song, she looked up at me sideways, and said in Ukrainian -
what do you think - True? Although she did say "That's an oIdie, We used to sing those at weddings.",
it was implicit in the manner in which the family history was shared and the Iinkeage of these two songs
*I--* -+
UU4L OL 1
g--e
L
-.
.-&+La cr\rrrr -rrm
--4
ur u a b a u r a 5
+.e
uur kmt -,
fQm& .,,life

I. i.) dancin~or ~artving

About the song H a cTapocTa ~ o - e u , Nash storosta mobdets, Folksong #44] Mrs. Zwozdesky
says 'It has never happened that we sang for a wreath weaving and we didn't finish with this. Well,
[the song says] the work's now done, it's time to party. We always finish like this. The work's done,
give us some supper, and then we[will] go dancing." After the wreath weaving, the mother of the bride
and her assistants distributed one hundred cloth napkins,which each guest was advised to hold, and
join with their neighbors as all the guests snaked out of the yard. The sturosta lead the people around
the bushes and trees in the garden and proceeded to make a circle in the middle ofthe intersectionjust
in fiont ofthe family home. AlI the guests made a circle in the middle of the street to perform the ritual
circle dance, moving in and out, and then circling in partners in the hohbchik [little bird] position. The
music then broke into an improvisational dance and many people did small dance steps, the crowd
favoring the many special comedic dance routines. Ali the guests, including a very fhil grandfather
participated as much as was possible.
 Page -82-

The song Hatu cTapxTa monoaeqb, Nmh Starostu Molodets, [Folksong #44Jwith the tradiion of the
bride's "weddingtrain"taking the newly married couple to the groom's home is being continued in
North America in a modified form. The ritual song seems to have a connection to the triial past, the
clan's past, and as such is the ritual circle dance, which is reminiscent of the native circle dance. The
subliminal power image of the circle as evoking the circle of We, the unity ofthe clan, the inside of the
circle being safe versus h g on the cutside all ritually communicates to the company the momentus
events being witnessed. The singing of this song is purposefbl, and invoIves quick listening,quick
hnprovisatioaal answer. The lyrics are less important, but the wishes shared with the company would
be called out. The contemporary situation is that the song is used as an excuse for a circle dance in the
form of an improvisational kdomeiko, an impromptu dance created by the virtuosi in dance and song in
the current company. The song now has come to mark the concIusion of the wreath weaving, public
recognition and approbation of the ritual marriage of the clans, by the clans, formerly (in the traditional
past - in Ukraine) celebrated with the hanging of a red flag after the nuptial evening. Symbols which in
times past heralded and celebrated the natural phenomenon associated with eroticism have been
eliminated in recognition of the contemporary social-cuItwa1-erotic mores.

ii). h v or humorous son@

Mrs. Zibrowski had a large repertoire of partying and drinking songs, including one called Oapwep B
n i ~+apmepye,
i Farmer v leeteefarmeyouye, @?olksong # 1O?] which contains bawdy double entendre,
however she says " it's very innocenf but it's the way you take it."

Mrs. Tataryn introduced THaa3ana B noneaim, Ti kaZu vponedeelok, Folksong #100]] as 'The
guys Like to sing this one at parties." The term nianranyna peedmanoola means "she fooled him." Mr.
Tataryn explained that 'this is a one sided [romance]. He loves her and she doesn'~..she'sgiving
excuses."

J.
..
In speaking of the significance of the song Ae Sofia B poanni, De zhoda v rodinee,EoIksong #19]
Mr. Muzyka said "ifyou agree with your siblings, and with your parents, you will be agreeable with the
 Page -83-

rest of the community. And maybe not only that community, but fiuther out, other communities of the
world. To me, peace and harmony in the h i l y transcends all." He says that this song is sung at
home, at weddings, christenings, "anyplace to bring in that religious feeling, to put your soul in kt'

K. paditional w o ~ l a c e
Only one song was offered in this reference area, the song, OG H a ropi, Ha ropi, Oi na horee, M horee,
Folksong #57l which is about sheep herding, which Mr. Muzyka comected with his childhood years.

L. M p r o ~ r i a t eto sing in ~ u b l i c
Mrs. Shwaikowski did comment on songs which she felt were inappropriate to sing in public. "Some
of the wedding songs were of that nature. Because there was so Little land, and so little opportunity to
earn enough money to build a home, and have your own property, the wife...the rnaiden.mamed the
young man who lived with his parents. She became the daughter-in-law. There's a word for the
mother-in-law - [she is called] cseltpyxa svekookhn. It has a very strong negative connotation.
n
DCC&USC
C* - r -- r -- -
-w-&tier Llull~t,~
uI&
--A
I
*I-:-
uus
U
--..--I
yuulrg Guy
A- -
.
I- L-
w ~ ~ v 11-l
en- -m4mA
u t ova. r u u r r l v v
+he f ~ - ; l ~ r rchplrreeAed
jvv~rv r-rr-,, LL'---~-----

to abide by the rules of the home. [She therefore couldn't have] any creativity [in building her home] at
all. [The mother-in-law was therefore] resented very often And so many of the wedding songs where
the mother is crying that her daughter is leaving, not only crying because her daughter is leaving the
home, but crying because the bride is perhaps not aware of the suffering she may have to go through as
a daughter-in-law in the [mhome. Many of the wedding songs are thematically that way."

There have been many themes traditionally emphasized in the ritual drama surrounding marriage which
reflect the mores and societal values of a time long past, even for people who live in Ukraine.
Excessive focus on the mother-in-law, with whom the married couple may have had to live in the pasf
has been consciously eliminated. "About the wreath weaving, I m.Anna Zwozdeslq] have this to
say. Because we are in Canada, we cannot sing almost all the songs that used to be sung in the past.
Because for one thing, nobody Lives with their mother-in-law now, and in the wreath weaving there
were many songs about 'how you will Live with the mother-in-law, how it will be for you1. So you see it
just wastes time for us now. So that's not practical for us now. Those songs used to say the mother-in-
 Page -84-
law was awfbl, that if she was annoyed she would blurt out her emotion, and never be quiet. Even the
song 01a i e w ~ ou y w m r d . Oi deevchino shoomit hoi, Folksong #49] says that near the end. But,
we don't have that these days, absolutely not, because no one h e s with the mother-in-law. Well we
sing it in that song, I suppose, but mostly like a joke." Part of the reason may be that the traditional
marriage involved a very young girl, and the marriage ritual celebrated in her home exchded the
groom's family altogether. It was a private, family matter to provide advice to the young bride. In
todays public arena, those songs, md the admonitions, however graphically embellished, and as well
intended as they probably were in the past, are completely inappropriate m the eyes of both Mrs.
Zwozdesky and Mrs. Shwaikoski. That is why Mrs. Zwozdesky has completely eLiminated them &om
her cycle of marriage drama songs.

Chervona
About the songs Yepeo~aPoxa T p o ~ ~ a , Rozha Troyaka, Folksong #I061 and
Kpwur~aneeaY m a , Krishtaleva Chasha, Folksong # 1131 Mr. Muzyka says "Ihave a distinct aversion
to folksongs that show drunkenness or family violence." However, he heard them, even in his own
home, "After dad and his &ends had had one too many, they% be singing some oirhose songs." Bui he
continues with a story. 'The second time we were in Ukraine. We went to see the Shevchenko
memorial at Kaneev...thatts during the communist regime there" the tour group was given a new tour
guide in Kiev, a young woman. The tour group had been singing Ukrainai folksongs, and the young
woman requested a song. So the tour group, at the behest of Mr. Muzyka unwittingly began to sing
Yepeo~aPoxa Tpon~a,Chervona Rozha Troyah, Folksong #lo6 3. 'We started to sing it. She burst
into tears and started crying, so I guess she must have been through that,and Florence, my wife said,
So why did you sing that? And I said, she asked us, she wanted to hear it. I guess there is quite a bit
of that [type of f d y violence] there." Mr. Muyka continues, that 'These songs about drinking and
family violence, I just don't care for them at all. I sang that song because I knew it, but I never realized
that some people who [had] Lived through that could be affected by it too. That lady on the bus, there, I
felt so bad about it, and I was singing it too. And the others didn't realize because she was sitting right
by us, crying. Well, there were marks, on her hw,and the black eyes were just disappearing. I felt so
bad, and had I known,I'd have shrugged my shoulders [at her question - did I know this song]."
 Page -85-

M. family tngg&
Mr. hbatiuk's father died in a car accident when he was only 13 or 14 years old. The last crop that
dad harvested was a very p1enti.W crop. Next year, of course my [older] brother had to quit school [as
did his older sister] to help at the fkm after dad's accident. And next year we planted the lands.
Neighbors helped us, but the harvest of the following year was very prolific, very rich, heavy. And
there was a lot of stooking fphysically gathering bundles of grain, making them stand as a bundle, and
binding them with twine] to do. [Brother] and neighbors would cut the grain with the binders and then
we would stook. We would stook into the evenings too. I remedxr mother helping, and mother
singing. And that's where I learned a lot of U k m i n h songs. Those are some of the most distinct
memories.'' One of the ones that I remember most vividly is CB~TH Hiwy, Sveeti Meesyats
Mic~qa
Neechkuo[Folksong #92]...remembering it not only during stooking, but even at home, singing. I guess
this is how mother coped with her sorrow, with her situation, with all of us-" 'This is the one that we
all remember. This one is common to aU of us as distinctly mother's."

Mrs. Zibrowski sang several very special songs which make her recall a cousin who had died tragically
in a senseless car accident. The boys had gone to town for shopping and a large truck ran over the car.
The song T ~ yMnoni kconma, Torn oo polee mohila, mlksong # ] hints at prehistoric Slavic burial
rituals. The placing of the bier on a mft and sending down the river is an ancient method of releasing
the departed spirit of a warrior. Two other songs in similar spirit were f l o e i ~ 66 i ~ e pc~enoscric,
n g and npewe nopa, Preyde pora, Folksong #85]. The
Poveeyav veeter s ~ p o e y , ~ o l k s o #80]
young man is depicted as a cossack, a warrior, a strong man.

Mrs. Zwozdesky also explained the folk wisdom regarding why the young maiden so often cries at
mamiage preparations and the marriage. Even the thought that a marriage could be carried out without
the blessing of the parents made for troublesome times. Where the mother had died prematurely,
before the child was to be married, the mood and the tone of the ritualbleskg was for obvious reasons
changed. Mr. Labatiuk recalls being at a wedding where the mother's blessing was not possible for
exactly these reasons. The CWKH svashk' sang a song which became en5cdded in his memory
 Page - 8 6
forever, so poignant was their singing about the mother's death affecting preparations for the daughter's
marriage. Mr. Labatiuk sang the song Ha r u ~ p opiw&
~ i Na shiroke reechlsee, Folksong #43]
because he remembered Iater being at the wedding ofthe daughter of this household - 'the old ladies in
the community singing the song, and of come it applied... I remember the song very well."

N. goncIusions dram bv the informan&

Nadia Shwaikowski said, with regard to how folk song has changed since the time of the first
immigrants, '7would say that there was a very long period, because Ukraine was under subjegation,
and because the immigrants to Canada spent most of their energy ekking out a life for themselves, and
later on for their children, and la& on as they became more prosperous, they wanted a more
successfbl, meaning "offthe farm" life for their children, - the melodies and the folk songs that they
came with. fiom Ukraine, continued to be the basis of their music repertoire. And because there were,
1 believe, very few new songs composed ...and any new songs that came fiom Ukraine during the
interwar period and post war period were often war type songs and propaganda type songs, theyjust
reksed to inciude them into their repertoire, the goup oC~ripih.ipsaigs 'uL~ti k i e kc
immigrants probably survived the best of all the music that did come fiom Ukraine, and a few of the
patriotic, some of the childrens songs. The children's songs weren't part of the community singing and
they were sort of retained within the families. And [Iflthe families did learn them, they learned them
fiom their mother. And with succeeding generations the mothers didn't know the songs, and so they
couldn't pass them on. But many of the children's songs that we have now, the Little lullabies and
things, I think come fkom pre-war and pre-immigration, from Ulrraine.

About the change in the songs sung as folk songs over a ofyears, Mr. Muyka has this
comment, "Now the thing that is very noticeable about these songs for example is, before the first
world war, we were more or less limited to folksongs ofjust the local region. After World War I,
naturally there was a little bit more movement of the people, and so you have more songs. Now after
the second World War even more. So that's why for example you have songs h m this 1917
songbook, to the [more recently published] songbook, to [this photocopied songbook fkom the church
seniors organization.] You'll see a great change, m songs that come h m an area away fiom where
 Page -87-
my folks, or our folks lived. For exarnple,6~naM e t i e Maw, BiZa Mene Mali, Folksong #2] is h m
Lemkiwschina [a small region in the Carpathian mountains] and it has an accent on a different [part of
the] word,

Mrs. Zibrowski believes the songs most represented in her repertoire are "mostly songs perbining to
romance, the broken heart, or something like the westem. Lots of broken love. When people came
&om Ukraine and they were saying here, one was over in M e [generally a husband came out first
and left his wife and possibly children to join him Iater] and the other one was here. And before they
could bring the wife here, I guess there was a Iot of heartache so they put it all into the words [and
melodies of their favorite songs]."

Mrs, Zibrowski commented many times that she learned h m a tape, fkom a record and even fiom a
video recording. She feels profoundly moved when she can learn a song Eom a tape, and then sing it
for people for whom it was a memory of their younger years. '1learned it off of a tape someplace, or a
--*A
LC.*wLU- AYaw
d -A .
- t h e ~e ge t," the !@e
--T
"A the= 5 &
hdy that says, you can't go until you sing
t QQC

this one for her." She has learned much about her CUM
history and heritage through vicarious
experience, having sung songs, and been encouraged to continue doing so by the seniors at the lodge
and senior's homes in the Thorhild, Redwater areas,

Mrs. Zibrowski also learned songs from " some of RJ's programs. He has a Ukrainian program [radio]
..Nput a couple of our songs on the radio at one time when he was in Westlock, so we got sort of
h o u s , we got a write up in the paper about ourselves."

..
Mrs. Zlbrowski commented briefly on the recordings of such early ulaaman Canadian performers as
Mickey and Bunny, Eddy Chwyl, Gloria-Kay Kulmatitsky, and Linda Lopushinsky. She often refers to
their recordings to refksh her memory and to add more songs to her repertoire, which has evolved over
the years. About how songs have changed over the years she says '?heyre more westernized now,
more Americanized. A lot of the songs now have a W e different beat. T h e e changing a little bit.
But the old ones are still.... for me that old thing is still there...I've got these [old song fkvorites] and PU
 Page -88-
stay with them because that's what I like to do. I sing lots of the same ones mt were sung by the h t
immigrants]. A lot of them came fiom the parents - that I remember. [A lot of them came fiom her
mother.]" "Ilove it. And I make an effort." "It takes hours to write all these songs out m English
letters, but I don't mind doing it It's my passtime. I know a lot of them, but because there's so many,
sometimes you're getting older and you forget sometimes too. You see the girl I sing with counts on
me to know the words."

Mr. T a w seems to have come fiom a very Literate family - because reference to the printed word
continues to be a focus. Even when discussing singing. 'Now we have a better selection of songs and
music than we had, when the homesteaders came. They were handicapped. They were limited
because a Iot of it was fkom hear-say that they picked up. Otherwise they weren't able to get much
..
choir singing because, ...and since then a lot more music has been composed by the Ukmmans in the
modern era. But there are the folksongs wch]I suppose are the same. Except that some of the
folksongs were put into maybe choir music. When I used to listen a s a kid, they'd sing in two parts,
harmonize, whereas now we've got a lot of fokongs in four parts." The orai nadirion was strong wkh
the first generation, whereas the literate tradition has become a focus in this area.

The effect which modern broadcasting media has on culture was mentioned by several of the
informants- Mrs. Zibrowski mentioned listening to records to learn folk songs, and the influence of
various recording or performing artists in the Ukrainian community. However, no one spoke more
eloquently than Mrs. Bidniak, who not surprisingly is a second generation Canadian The J3idniak
family has always been musical. Mrs. Bidniak plays guitar and sings very often with her husband.
They are related to people in the Ukrainian community who have been singing and performing folk
songs for generations. They are not always sure which songs are composed and which are folk songs
because primarily they learn by ear. For them,it is truly an aural learning process. Over the years,
they have learned many songs fiom the recording artists in the Ukrainian community, particularly those
that recorded in the 19603, such as Mickey and Bunny, and the Frunchak's.

About the song Poveeyov veeter stepovey,Folksong #80] Mrs. Bidni& says 'We leamed that one fiom
 Page -89-
[name] who is a recent [ = i the last ten years] immigrant firom Ukraine." It wasn't one that they were
exposed to in any memorable way in the past, although now they sing h
/

PoIksong #8;rl Proschqyou'deevchino z toboyou is a fbvorite piece for Mrs. B

C - I "It's one
~ that I
learned just fioin listening to other people sing. And I copied the words down, ...=justfiom listening?in
English letters. The words had such a heart tugging sound...that you just want to sing." 'The melody
just touches your heart. I love everything about &..the sound of h"

[Folksong #34] Letit' chorney orel was learned by the Bidniak' fiom a tape, either Micky and Bunny,
or the Frunchak f e . The lineage is strictly oral in this case.

Mr. and Mrs. Bidniak sing together in a group which has been performing, singing and recording since
about 1980. In 1980-81 they were invited to sing with Metro Radomsky, the fiddler, on his recordings.
They feel particularly gratified in that a particular song that they chose to sing for Mr. Radornsky was in
&ci ~ " ~&y
ig >& CG~~C;& kl F ~ ' c ; ~ ~&qd
s, s;iS*hlcy-~I +& $e- 'EC=IS~,
p&cx-b,r-
Radomsky, he lcnew every song you'd ever want to know, and if anyone would have known it, it would
be him, but even he had never played it before until we recorded it? They credit an accomplished
musician, Anton Evasiuk of Lamont for encouraging them. In their own way, the Bidniak's have been
..
conducting active collection of old Ukrainian folk songs among the older people in the Ihmuan
community.

Since that time the Bidniak's have performed at community hctions extensively with their folk songs.
They lead the golden-agers singalong every Tuesday morning at St. Andrew's Parish in Edmonton. It's
a particularly well attended seniors p u p , sometimes up to 50 people participating on a regular basis.

The Bidniak's spoke at length about feeling social pressure to become integrated into the English
mainstream. Traditional values and the fgmily Westyle and culture has become increasingly more
significant as they have progressed in years. They understand, but do not welcome the influence of
their children's peer groups who have "queered out1'their children. They feel that this has led to
 Page -90-

"ditFculty keeping up with traditional values". The Bidniaks feel that contemporary society presents
opposition to traditional b i l y values. They even commented on how their daughter had always been
a top student, and somehow the peer pressure to biend in, to not achieve, even temporarily affected her
..
grades, and her desire to keep up her tJkmman studies offered in high school. "I had to teach myself
. *
what Ukrarnran [reading and writing] I h o w " while Mrs. Bidniak's daughter's peer group intluenced
her choices against the family's linguistic tradition. 'Ifthey aren't taking that language, what am I going
to take it for?Both Mrs. and Mr. Bidniak are pleased that their grown daughter now exhibits an
..
interest in singing Ukrauuan folksongs, and their traditions and culture. ''Who knows, maybe she'll be
doing this when I'm gone."

-
The Bidniak's used to listen to the CFCW radio station 1790 AMJ which had a L l h a i n h hour which
over time became a half hour show. "It was like having a fiend coming to your house every
weeb-ght." "It was a Little break away fiom [the daiiy grind]. I codd sit, or do a M e dance if1
wanted to, or listen to my other fiends. It put a spark in my day. [The recording artists featured were
] i x ~ i ; jk
:st %e *s.'"
we - h ~ w
!?om our fiends, how they'd comment how they used to love hearing
us every weekday." '1think for 25 years, we never missed listening to the Ukrainian Hour. You could
have a party and invite all of your fiends and all you'd have to do is turn on the radio. And that's the
way the radio program had an influence." Broadcast times have steadily dwindled, and now the show
is on once a week on Sundays at 9 PM. The original owners of the radio station had provided Western
community radio service for generations "&om the 1950-60's onward". "Thousands of people used to
Listen, 100,000 every night!" The radio station was sold to Newfoundlanders who changed the format.
But when the announcer RJ Tomkins left the station things changed even more. In the Bidniak's
opinion it has gone from "western community radio, to money issues done". They feel that there have
been economic pressures to have the station make a profit, and the people who used to listen to the
radio station are older, and perhaps not important to what "used to be a community station." The
Bidniak's say that 'the radio used to be a friendly companion when you were driving on the highway."
The Ukrainian Hour radio program "also served a very good community purpose for U k m h h s
because he [the announcer] announced every do [ c o m m u gathering],
~ every activity that had even
..
remotdy to do with Ukrarmans. You knew a month ahead when the next [function] was at [whatever]
 Page -91-
place, whereas now... you miss all that." Mrs. Bi- recalled a time when they, as a f e used to
go to Radium Hot Springs, and white in the waters, have a casual conversation with people they didn't
know at d-What seemed to be a common element was usually having listened to the t k a i n h Hour
on the radio station. Even at campgrounds, this was a binding, communify element. Although there is
.-
a Ukmman radio show offered on the multicultural radio station CKER in Edmonton, the Bidniakls
don? feel comfortable with the content, since it reflects a postemigR person*. As old Canadians,
they feel ignored by the broadcast community. 'It's very very classical. You see our type is folk
music." So the observation left is that this prairie radio tradition has changed drastically and is not
meeting the needs of the hundred's of thousands of people who enjoy the music of east central Europe,
and as Mr. Bidniak said "who on the prairies hasn't been to a L k a i n h wedding?" The people who
grew up since the 1950-60's listening to the Ukrainian Hour have felt isolated.

However, their song selections have struck such a chord in the community that the Bidniak's have
printed their song collection. An earlier version had the Ukrainian songs all transliterated into English
ph~zctkcs,br:: ke;L cV&m.t -;=sic= k
the scngs 'c?!eL=b a s well- Tk Imt s w h ~ftheb
song collection is devoted to English language songs which are popular in the community as well-

It is evident fkom the comments made by the various contriiutors, that Kolessa [see fmtnote #21] aptly
..
described the organism refered to as the Ukrammcommunity-This same Ukrainian community exists
even in the Kalyna country area as very interlinked, and relying deeply on each other's continued love
and respect of Ukrainian f o k and historical songs. It is not only those who are able to sing the
folksongs who benefit or appreciate the message and the music. All the participants of this study
deeply value Ukrainh folksongs because they have the power to touch and transform the mundane
into nurturing, sustaining, spiritual, personally rewarding experiences.
 Page -92-

CHAPTER 5
RESULTS OF THE SONG ANALYSIS

--
In this chapter, the musical and folkloric elements that appear in the various Ukraurran folksongs
gathered though first-hand collection among individuals ofUkminb Canadian background living in
the KaIyna country area of east central Alberta are compared and contrasted with elements appearing in
other collections, recognized and authoritative sources. The songs have been analyzed for pedagogic
purposes.

I. THE ALBERTA COLLECTION

The newly collected Alberta Ukrainian folksongs were gathered in the summer of 1997. A total of 194
songs were collected through the interview process, participation in the Ritual Wreath Weaving and the
Klondike Breakfast Sing-along at the Senior's facility. Of this number, 115 were retained for the final
--ll--+:n- 1 Jm-x.
b u ~ b b U V L L -A W A a A J
-=r----ml
A k p a d e A e AI
r ------
w-u--- -
icntes r \ ~om,nosed
~l ~ works,

The first interview candidate Mr. Meroslaw Muzyka contributed 24 songs. He referred to several
other songs, assuming that they were cornmoaplace, and in the research interviewer's repertoire. Of the
songs Mr. Muyka contributed, 16 were retained for the fmal collection The songs not retained for
the collection were either composed, or duplicates offered by other interview candidates. The songs
retained comprise 13-9% of the final collection.

Mrs. Nadia Shwaikowski contpbuted 34 songs, and of these 20 were retained for the final collection.
Those not included were considered duplicates. They comprise 17.3% of the final collection.

Mr. and Mrs. Michalina and Bohdan Tataryn together contributed 25 fobongs. They referred to at
least 11 more folk songs, but did not sing them. The final odlection has @ed 11 of these, those not
retained being primarily composed works. They comprise 9.5% of the f3pl collection.
 Page -93-
Mrs. Kay (Katie) Zibrowsky contributed 34 songs. Many duplicates, as well as songs m translation
..
such as the L k a m m versions of You are mv sunsh e , and 'Jhis Land is yous I and were offered.
There also seemed to be a collection of songs which had questionable origins and for the sake of this
folk song collection were omitted. The collection has retained 19 of those shared. They comprise
16.5% of the final collection.

Mr. Bill Labatiuk contributed 14 songs. The final collection retains 11 of these songs. Those not
retained were duplicates offered in other interviews. Of the £id
collection, Mr. Labatiuk's comprise
9.5%.

On the advice and intervention of Mrs. Anna Zwozdesky it was possibIe to attend a 6 i ~ -
muflfleTeHHR

Vinkopletennyo Ritual Pre-wedding Wreath Weaving at the home of Mr. and Mrs. Taras and Audrey
Uzwyshyn - in preparation for their daughter Connie's wedding. During the recording process it was
possible to collect most of the songs used during this evening celebration. Because the singing which
accompanieci this event was arranged by ivin. Anmi Z~ozGesky,k P
mk i i pi&iit t;: C G F S ~ ~ C ~e

repertoire chosen for this evening as contributed by her. As "svoshkn",or leader of the ritual singing,
Mrs. Zwozdesky contributed 35 songs primarily m the wedding song genre. The final collection retains
22 of these, the rest being duplicates.

On the invitation of Mr. and Mrs. George and Jean Bichiak, it was possible to attend a Klondike
Breakfist Sing-along at a Senior Citizen's facility called St. Andrew's Selo in Edmonton, and record the
sing-along on audio-cassette. Because the song selections for this morning activity were directed by
the Bidniak's, it has been prudent to consider the song contriiuted by them. Therefore, Mr. and Mrs.
George and Jean Bidniak together contriiuted 28 songs to the research process, both in their home and
during the Klondike Breakfast at the Senior Citizen's faciiity called S t Andrew's Selo. During the
research process it was evidenced that some of these songs were composed, and therefore were not
included in the final folksong collection. Also many of them are duplicates of the songs sung in prior
m t e ~ e w s .Therefore 14 of the contributed songs are retained in the final collection. They comprise
12.1% of the h l collection.
 Page -94-

fI- MUSIC ANALYSIS

The Ukrainian folk songs in this recently gathered collection have been anafyzed for Tone set. Mode,
Meter, Rhythm set, and Genre. Musical characteristics have been tabulated, and resub compared
with those characteristics found in reputed and authoritative sources have been drawn where possible.
Song variants have been discovered in the sources, and their simiLarity with folksongs in the AIberta
collection briefly commented upon.

n. -
A. TONE SET A COMPARISON OF ALBERTA DATA WITH
LYSKO Uktainian Folk Melodies, by Lysko, Zenowij (collector/editor).

Lysko organizes the songs using various musical means of cross reference. In organizing the tone sets,
-.. ----• A--
I t O K Z U I X iipParcrrr
41-3
~ r i r j u i v u-cPCI
umr u s --*l-Ah-r
uaru
UJ L . J ~ - - , \ l."---
1 ~ ~ nT&lmp
m - pp 4w-549)
1 is indeed very
manageable. It was decided to collate the data for pedagogic purposes, and also to tabdate the results
using the Lysko method.

Lysko sorted the songs by tone set. The ranges have been sequenced so as to describe the smallest
range to the largest. Lysko does this with notation, while the Aiberta collection does this with p k h
names given in solfa Three large groupings emerge fmm the Lysko collection based on where the tonic
G Absolute is found in the tone set. Group A includes ail those melodies which have tonic G Absolute
on the lowest pitch of the tone set Group A is subdivided into smaller sub-sets corresponding to the
melodic range. In Group B there are melodies which have one or more pitches below the tonic. The
tonic is therefore found within the tone set. Group C contains a small number of songs in which the
melody does not actually contain the tonic. However, there is in hct a sense of tonality, genedy
added in a second, lower part, sung a third below - ie. tertial harmony.

In h.ysko"scollection of 11,447 songs, this analysis method is described on pages 404 to 549. Th*
 Page -95-

weighty analysis of these eleven thousand songs is massive. It is therefore prudent simply to descrii
the relative weights of these groupings as compared with the AIberta collection. In Lysko, Group A
requires description fiom pages 404 - 440. Group B is desm'bed f?om pages 441-547. This is by far
the largest group. Group C is in hct the smallest goup requiring description only on pages 548-549.
Although this brief discussion does not truly represent exact figures, in order to discuss the relative
weighting of the various groupings as descriid above, each page of data fiom the L y s k ~tone set
discussion will be treated as a unit for comparison purposes.

Lvsko biPm f w n of whole rta collection

Group A pages 404-440 24.8%
Group B pages 44 1-547 73.1%
Group C pages 548-549 .6%

The group of songs which have the tonic as the lowest pitch appear in greater number in the Alberta
repertoire. g u---- 3~1153 w a
Lvtrrr
"
-
. rrr- --
-- --- --- t not t_he I Q Wp~h S
-c---- L W-G-L +hne--;n & CnrrnA within the trine P P ~h ~ l i~
u p VL u *riuGrl u a b --- .
h ~
is more signif~cantin the Lvsko colIection. The group in which there is implied tonality is greater in the
Alberta coliection.

The songs in this collection are grouped by tone set. Tone sets which are composed of major and
minor seconds are referred to with the suffx "chord". Tone sets which include skips are given the
suffix 'tonic". The prefx tetra means four, penta means five, hexa means six. The tone sets in this
collection fall within thirteen smaller sets which may be organized into four groups. These four groups
may be refemed to as "do scale or of major character", "la scale or of minor character", "turkish
phrygian mode", and "mixolydian mode." Four main groups may therefore be discussed with regard
to mode or scale in the Alberta collection.
 Page -96-

I -
d1
do tetrachord 1A15 .86%
do pentachord 5/115 4.3%
do hexachord 27/115 23.4%
ionian without la 8/115 6.9%
ionian without fa 1/115 .86%
ionian 38/115 33%
There are 80 songs appearing in a single group, 70% in a do scale - a scale of major character, i o r h
mode in the Alberta collection. The subsets include do tetrachord, do pentachord, do hexachord, ionian
without la, ionian without fa, and ionian. Of these the largest subset is in the ionian mode, or major
scale, 38/115 or 33% of the collection. Do hexachord is the second Iargest subset in this group -
27/1 t 5 or 23.4%. 30 songs, in a scale of major character which represent 26% of the collection do not
use ti. Songs in this group, but using accidentals such as the raised tonic di comprise -8% of the set,
the raised second step ri comprise 1.7% ofthe set, and the raised fourth step fi comprise .8% of the
set E e !zrgect s h g k p u p in the Alberta collection are in a do scale or major character.

la scale - a scale of minor character

la pentachord 5/115
la hexachord 2/115
la hexatonic 1/115
aeolian 19/115
hannonic minor 2/115

The second largest group of songs is in the la scale, or a scale of minor character. These 29 songs
comprise 25.6% of the collection. Subsets within this group include la pentachord, la hexachord, fa
hexatonic and those of aeolian mode. The largest subset in this group is comprised of songs m aeolian
mode,which are 19/115 or 16.5% of the collection. There are two songs in this la group which use the
harmonic minor scale or 1.7% of the collection. These are 2 examples ( # 58,96) which have the
raised seventh, si, and are considered hannonic minor. One of this, example #58 is discussed by
 Page -97-

Soroker. Ukrainian music is characterized by a melodic phrase which, because its high degree of
expressiveness and ethnic specificity, hus become a "signature" melotfy among Ukrainians in
'' I was prompted to call this musical stereov-e '?he melodic t m of the song 'Oh,
H r p ! ..(or the Hiyts' refioin) because of its widespread popularity among UKrainianfolksongs.
Tams Shevcheko,fir exmple, mentions it repeatedly in his workn Otherwise, with this group
under the heading aeoiian is one example including the raised fourth, ri, and the raised seventh, si,
(#25) which because of the melodic turn or trill ornament at the pitches ri and si, has been attnibuted to
the aeolian with accidental n and si.

Three rnixolydian mode songs appear in the Aiberta collection. Ow of them appears in the Lysko
collection (#60)in both ionian and mixolydian modes. One appears in the Lysko collection (#64) as it
is in the Alberta collection. This group constitutes 2.6% of the AIberta co1Iection.

The last group were of minor character with an augmented second. I consulted with Professor Lazlo
Vikar of the Folk Music Group of the Hungarian Academy of Sciences for verification oftheir modai
identity. The advice to label them (#21, 84, 112) turkish phrygian is noted. These three songs
constitute 2.6% of the Alberta collection. Yakov Soroker discusses the appearance of the augmented
second within Ukrainian song and dance folklore. Melodies with on augmented second occur
predominantly in the western regions of Ukraine - the lands of the HULFU~S
and Lemkos, as well us
Transcmpathia - but they also proliferate in other parts of the country. It was oncefashionable to
assume that certain peculiarities encounlered in rhe musicalfolklore of the SZavs(such as musical
phrases with various whimsical embellishments) were influenced by Eastern masic. (Tchaikovsky,for
example, subscribed to this notion.) Now it is generally believed that the so-called %on-European"
elements ore autochthonous, notforeign in origin.....Theoreticians give various names to modes with
an augmented second. There is a term, the "Ubainian hexachord",for the mode G, A, B [Bflar 1, C-

p. 10,1 l,I2,13,M and 54

76~omker

"Soroker p. 126
 Page -98-
sharp. D. E, which is widespread in UKrainiunfolMure. Others consider this sound spec- with
the addition of the note D ro be a "Hutsulmode."

Ongoing ethnomusicological research will eventually settle on a definitive explanation and labelling of
this tone set with its augmented second.

II- C. GENRE - A COMPARISON OF ALBERTA DATA WITH

a). KOLESSA Ukrainian Om1 Literature by Filiaret Kolessa

-.
A comparison of the Alberta data is dram with Kolessa's work U ~ ~ ~Oral
E U Literature
I (1 %8), a
historical document from Ukraine which contains 252 annotated folksongs with a comprehensive and
extensive detailing of genre. It is perhaps informative to make a cursory overview of the gemes most
..
illustrative in Ukrainian oral literature prior to comparing the Alberta data with Ukraman Oral
Literature bv Filiaret Kolessa,

Maior genre ETOUD Classification TotaV247 Subtotal Percent

I Ritual songs A. Carols and Schedrivki 33 Subtotal= 96 38%
B. Ryndzivky and Rohulki 03
C. HaiivWesnianki(Spring songs) 14
D. of the Water Nymphs 03
E. Tsaryni Songs 02
F . Kupalo(Summer Solstace) 10
G. Sobitkovi Songs 03
H. Harvest Songs 06
I. Wedding Songs 22
TI. Funeral Laments, 04
ID. Dumi( an epic genre) 07

"Soroker p. 9-1 0
 Page -99-

N. Historical Songs A. Of the Cossack Era 30 Subtotal=33 13-90%

B. AAer the fall 03
V. StatusPosition A. &-Cart Drivers Songs 04 Subtotal=l7 00.06%
B. Recruits and Tsarist Soldiers 05
C. Craftsmen 01
Do Vagabonds, Servants 07
VI. LyricaYLifestyle/Penonal and family Life
M. Dance Songs A. Kolomeiki
B. Shumki and Kozachki 08
W. Ballads 26 Subtotal=26 00.1 0%
DC. Jesting and Children's Songs
X. Sacred Psalms, Chants, and songs of the elders

There are 252 songs in the Kolessa work For the sake of discussion, it will be helpll to translate the
-2-6,
sub-totals by major genre group into perceniage kt WUSL b u WUlyr
+he- =,;th +he 1 1 5
u r r a r * *r A- - - - ----
QnnQq
0-

documented in this current research

Data fkom Kolessa's classification by genre Current Research 1997

Ritual songs comprise approximately 38% 27%
Funeral laments comprise 01% 0%
Dumi (the epic genre) comprise 02% 0%
Historical songs comprise 13.9% 12%
Songs of Status/Positioncomprise 06% 0%
songs
LyricaYLXestyle/Per~~naYFardy 15.4% 30*%
Dance songs comprise 05% 18%
Ballads comprise 10% *%
Jesting and Children's songs 03% 7%
Sacred Psalms,Chants, songs of elders 02% 5%
 Page -100-
For purposes of genre ctassif5~tionfor the current research, the family and personal lifestyle songs ate
grouped with the ballads, while Kolessa separates the two genres-

It is interesting to note that the Ritual songs in the Alberta collection comprise 27% of the total while
lF(oIessalscollection, which bases its findings on research undertaken a century ago contained 38%.

Funeral laments have disappeared fkom the repertoire of b i n i a n Canadians in Alberta, but the data
indicates that this genre was already in serious decline even a hundred years ago.

The epic genre called Dumi is non-existent in the current collection.

Historical songs remain significant in the Alberta collection. They comprised 13.9% of the old
collection, and they retain their status in western Canada with 12% of the repertoire.

It has been necessary to group the family and personal lifestyle songs with the ballads because it was
dficult at times to distinguish one fhm the other. Therefore they appear to comprise 25.4% of the
Kolessa coIIection. However, the Alberta collection indicates that their status in the repertoire is
significantly higher at 30% of the collectioaa

Dance songs and songs in dance rhythm in the Kolessg collection comprise 5% only, however the
Alberta collection has more representatives in this genre. At 18% of the collection, it may be that the
earlier collection disregarded this group as a genre because of its improvisational nature. In the Alberta
coUection, dance rhythms and their improvisational verse format seems to have become a significant
part of the repertoire as compared with the historical collection.

Children's songs and lullabies comprise 3% of the Koless; collection, however the Alberta collection
contains more than twice that number at 7% of the repertoire. It may be that in historical perspective,
 Page -101-

the Kolessa coUection process did not deem the home, and child rearing a significant area of research.
It may also be that in Alberta, due to isolation fhm I k m i n h language p e r groups for tiny children
that mothers filled the void with songs to teach morals and lessons.

Sacred psalms, chants and songs of the elders is a genre gmup which reflects 2% of the Kolesa
repertoire. In the Alberta collection this group represents 5% ofthe repertoire. This doubling of the
g e m in the repertoire is problematic. The researcher did not collectany sacred psalms, or chants.
However, songs which were considered to be of spiritual significance were grouped in this section.

11. C. GENRE - A COMPARISON OF ALBERTA DATA WTE

b). Lk'RA-SURMA The Grerrt Collection of Ukrainian Songs Lyra-Surma -
The Lp-Surma songbook contains 432 songs, of which 40 1 have annotations indicating their folksong
Lineage. Another section contains 9 songs whose lyrics come Eom the poetic works of author Taras
. *
.u&s, wkde 19 more sones are
Shevchemo. horher swiiriil cmtzii~i18 ssigs L s d m li*sro~
examples of patriotic songs originating in the £kworld
t war experience. The 40 1 folksongs found in
the Lvra-Surma are organized under headings which are consistent with the earlier works of Filiaret
Kolessa. (Discussed in the thesis proposal.)

G!aQL number bercent of total

Songs about serfdom (17) 4%
Song about Cossacks (1 oh 2%
Songs about ox-cart driven (13), 3%
Songs about barge haulers-servants and workers (33), 8%
Songs about recruits and the Tsafs soldiers (33), 8%
Songs about family life (661, 16%
Songs about love (D6h 31%
Satirical-humorous-jestingsongs (7Qy 19%
Lullabies and children's songs (20)- 5%
 Page -102-

Ifone attempts a comparison of the Lyra-Sum (Kolessa) genres then, it becomes apparent that there
are no songs about serfdom, ox-cart drivers, barge haulers (which constitute 10% of the Kolessa work)
m the Alberta collection. Further, the Kolessa collection has avoided a great number of songs m the
ritual genres. One notices in the Lyra-Surma, complete absence of any songs related to the Christmas
season, S p ~ songs
g and dances, as well as any reference to Spirihlal songs. This Lyra-Suma
songbook, although h i a y regarded in its multiple editions since its first publication in 1930, does not
focus on genre p u p s such as funeral laments, the epic g e m such as d& and spirituavreligous
songs. Therefore though Lyra-SURM is an excellent collection, it is one with limitations.

II- C. GENRE - A COMPARISON OF ALBERTA DATA WITH

c). LYSKO Ukrainian Folk Melodies by Lysko, Zenowij (coUectorfeditor).

The Lysko collection identifies folk songs by genre, 43 genre groups itemized in Volume I. They
follow, in very minute detail, genre designations of Kolessa's earlier works. In order to classify and
cociify &e i i,&; *&cdzx, L p k ;='e'p-~n_d
~ - -groups
that small category - would most effectively
descnie the category and genre which the songs reflected.

His genre groups are as follows with approximate numbers of songs in each genre. In order to draw
comparisons, it has been necessary to group the genres into reperesentathe sets which correspond
more effectively with the research collection at hand-
 Page -203-
Lvsko classificationBnre MaQUS Percent in L v s h rta collection
1. Spiritual chants and psalms 164
2. Songs sung near the deceased 1 Subset totaI 1.4% 52%

3, Carols
4. Other carols
5. Schedrivki
6. New Year Games
7. New Year Subset total 4.1%

8. Spring Songs Haiivky

9. Volochilni
10. Petrivka
1 1 . Kupalo
12. Of the Water Nymphs
13. Trinity Feastday Subset total 6.9%

14. Wedding Songs Subset total 8.6%

15.Baptismal Songs
16. Lullabies Subset total 1.1%

17. St. George

1 8. Haying songs
19. Harvest songs
20. Craftsmen's songs Subset total 0.8%

21. Laments
22. Epic genre Dumi Subset total 0.7%
 Page -104-

23. Historical Subset total 1-9% 12%

24. Cossack songs

25. Soldier
26. Recruit songs Subset total 4.8% *

27. Ox-Cart Driver Songs

28. Vagabond,Se~mt Subset total 3.4% 0%

29. Social songs

30. Bad Marriage
3 1. Fate of the Daughter-in-law
32.0rphans
33. Widows
3 A CS--- .&..=I
~ - to. u t t y arb Subset total 13-8%

35. BaUads
36. Love Songs
37. Departure of a loved man Subset total 1 1.8%

38. Songs f?om stories

39. Children's songs Subset total 0.5%

40. Jesting
4 1. Drinking songs Subset total 22.8%

42. Various
43- Others Subset total 1 1.9%
 Page -105-
The Alberta percentages account for 98.6% of the songs in the collection.

* The songs in the L Y S ~cQ

o k t i o n which have been identified with the Historical songs genre,
cossack songs, soldier songs and recruit songs have m the Alberta collection been grouped together
under the tide II Historical songs - HistoricaYor or about Cossacks/Patrioticsongs/Wartime.

** Although the Alberta collection does have songs which speak about unhappy social relationships,
and others relating the story of unfortunate marital relations, the sony fate of a daughter in law, and
marriage of an orphan, these songs bave all been grouped into other categories m the Alberta collection.
It is therefore not possMe to compare these exactly. These songs may fall under other genre headings.

A comparison of the dative weight of the genres in the collections d e s c n i d above, the Lvsko
coliection and the Alberta collection is in fact not an exact process. There are 11,447 songs in the
-
Lvsko colIection and as such they represent a range of g e m s , and a meticuIous sorting process based
on a volume of research documents prohibited in the time allowed for this study. It is impossibie to
draw the same range of genres fiom 115 songs, nonetheless, there are comparisons to be drawn.

The Lvsko document has 1A% in genre groups #1 and 2, Spiritual Chants and Psalms, and Songs Sung
near the Deceased. In the Alberta collection 5.2% of the songs represent these subjects.

The Lvsko collection has a series of subgenre groupings regarding Christmas and the New Year
ceIebrations at #3,4,5,6,7. The Christmas and New Year Songs represent 4.1 % of the Lysko collection
while in the Alberta collection they represent 7.8%.

Spring songs and songs about various feast days in the summer months represent 6.9% of the
repertoire in the LySke collection while the Alberta collection has 1.7% about these themes.

Wedding songs represent only 8.6% ofthe Lysko collection, while they represent 18.2% of the Alberta
 Page -106-
collection pate * asterisk above]

The baptismal and lullaby songs m the Lysko collection represent 1.1% of the collection, and though
there are no baptismal songs in the Alberta collection, this genre group numbers 0.8 of the AIberta
collection.

Songs about summer and the b e s t have been grouped to represent 0.8% of the Lysko collection.
They are not represented as a genre grouping in the Alberta collection.

Lysko asserts that the laments and epic dumi represent 0.7% of his collection They do not appear m
the Alberta couection at all. About the only song which could be classified as a lament because it is
sung at fimerals and memorial services is Bivna~~ M R [ TVeechnaya
~ Pamyat' Folksong # 121. This
song has been grouped with Spiritual chants and psaIrns/Songs sung near the deceased.

Hkoricai songs, W S S Z C ~s;igs, sddier smgs =d r e c ~mgs,

~ i when p u n e d to form one large group
represent 6.7% in the L y k o collection. In the Alberta collection they represent 12% of the collection.
v o t e **asterisk above]

The Lvsko collection has songs about ox-cart drivers, vagabonds and servants and these represent
3.4% of the collection. Perhaps because the AIberta community has not had vagabonds or servants,
this coIIection contains only one exarnpIe in this genre. Perhaps because the first generation of men
immigrants who were involved in summer cash-paying emoployment were frequently away from
home, these songs have not entered the repertoire in substantial measure. Although subset #28 About
Vagabonds and Servants is represented in one single song [OCc RK Tau Ha C e i ~ iFolksong #75 Oi yak
tam na sveetee nairnichka beedmye] in the Alberta collection, it has been grouped with V. Songs in
Dance Rhythm - Often Humorous, because of its presentation by the conlriiutor as a quasi-
improvisational f o n .

The LySkp collection has many songs in the subsets #29,30,3 1,32,33,34 which bemoan the sorry fate of
 Page -107-

women, includimg many songs about the fate of the daughter-in-law. These songs are discussed at
length by contriibutors Mrs. Anna Zwozdeslq and Mrs. Nadia Shwaikowski. The sense of their
comments is that these songs have consciously been repressed in the AIberta collection, partially for
practical reasons. The young bride rarely lives with the mother-in-law in contemporary society. But
these songs exhibit an unwanted, ugly picture of territorial behavior, and as the women discussing them
* .
with the researcher intimated, these behaviours are a part of the culture which modem Ukmman
Canadians intentionally left behind in the old country upon their emigration to the new world. Where
they do exist, they are considered humorous, and as such have been grouped in the AIberta coUection in
section V. as above.

It may be that the Lyko collection's genre selection process is highly meticulous. The ballads and love
songs which are represented in w s genre groupings #35,36,37 comprise 11.8% of the songs in his
collection. It may be possible that Dr. Robert Bohdan Klymasz's comments regarding the unusual
..
weight of the ballad in the repertoire of western Canadian Ukramam are well considered. The Alberta
co!!e&n has the collected genres of ballads, love songs and departure songs representing 30.4% ofthe
repertoire.

The Lysko collection has a huge subset designated #40 Songs in Jest. They represent 22.8% of the
collection. It may be that Ukrainians have a real talent for humor, although at 15.6% ofthe repertoire
in Alberta, perhaps not all of their humor crossed the ocean.

Lvske has grouped the remainder of the songs in his collection under Various, which represent 11.9%
of the songs. He has asserted that the primary reason for this huge subset is the lack of definitive lyric-
text to attniute the song to one or another genre. The Alberta collection has one song which, although
grouped with the Songs about Christmas, is problematic in that no definive source comments about the
relative place within the folklore for Plyasannya - the song #86 Preyshli do dverya chotiri khlopi.
Although Mrs. Zwozdesky indicates that boys visited her home in order to do this "courtship" type of
song/dance/banter when she was a young woman, and Klymnyk and Woropai mention Plyasannya in
passing, this song's place in the repertoire has not been identified definitively.
 Page -108-
Although Lysko's 43 genre classifications assist greatly in understanding the breadth of genre within
eleven thousand songs, it is impossible to replicate those genre classifications using only 115 songs.

II. D. VARIANTSIMUTATIONS - DISCUSSION COMPARING ALBERTA DATA

WITH LYSKO Ukrainian Folk Melodies by Lysko,Zenowij (collector/editor).

The Lysko collection of 11,447 folksongs were collected fiom all the print sources available until the
1960's. Lysko asserts that the corpus includes approximately 85% of all such editions appearing
befoe 1 9 6 1 . ~Exact duplicates, variants, mutations and fokongs which retain thematic or melodic
germinal material found in the Lysko collection are found in the Alberta collection. The current
research reveals that 43.4% of the foksongs in the Alberta collection are in some fashion related to the
codifled anthology. Slightly less than half of these, or 17.3% seem to have direct roots in the old
tradition as represented in the collection collected and edited by Lysko. These 17.3% of the Alberta
collection are quoted exactly, or almost exactly as notated in Lysko. These seem to be the most stable
songs in the collection. Close variants may be found for 2 1.1%.

However, 56.5% of the Alberta collection do not find precedent in Lysko. About 21 of these 64 songs
in the Alberta collection not in the Lysko collection have enough similarities to those in the former
category to be related to the Ukraine collections. 43 of the songs appear to have undocumented origins.

Some songs appear to have adapted to contemporary life style situations in Canada. These two songs,
(Folk songs #I 03 and 119,due to their particular characteristics, such as macaronic texts or
modifications in the tonal logic (such as Folk song #34 which because of its content could possibly
have existed in an earlier variant in a mode of miwr character) seem unusual. Songs such as the
..
ukrammn versions of You are mv sunshine, and This land is vour land, are composed melodies, and as
 Page -109-

such are not included in this collection of traditional folk songs. They, however, are interesting cross-
over forms in that they use the melodies of common and popuIar North American folk songs but have
an entirely Ukrainian logic to the development of the lyric-text- The lyrics indicate a departure fkom
the North American lyric, in specific tenns, but in general terms they speak of the immense pride of the
Canadian-Ukrainians in their new land. The melody for the North American popular song You are mv
..
sunshine is the vehicle for the transmission of an entire UlaamLan story, thematically and foiklorically.
It appears that the Ukrainian melody has been lost, or was at least similar enough to the original in
meter and rhythm to have allowed the superimposition of lyric-text with a IJkmmm story.
..

III. COMMENTARY AND FOLKLORIC ANALYSIS

All the songs in this document were coflected in the Edmonton area, part of what is currently referred
to as Kalyna country This location played host to the earliest immigration of U h h i a n speaking
pioneers to Canada, specifically the rural districts of Star-Andrew east of Edmonton. All of the
nmn*Xv-+n- --
b U L I U A U U b V A ~
:eh-Gtrrrr nf the +r9rl;Gnne
V L Us-
CL.b YYawA a b w ~ 3 YIIUVI
W
and
UCI -.-
---rr ---- -.- .
I a r r r n r ~ - e rrfthe fimt wave
-. -
nfTTkmininn
+----
immi-tion to

Canada, but not specifically to the original Star-Andrew immigration. For allpractical purposes this
cuItura1 group has been isolated h r n the homeland, and their perceptions of this homeland is based on
ideals and dreams. Many of them have never returned to their ancestral homeIand. All the
contributors cherished the folk and musical qualities of the songs which they shared during the course
ofthe research. The valueplaced on these folksongs in the homelife is near to ritual practice in the
opinion of the researcher.

Since this Alberta collection numbers some 115 songs in total, and the Lysko collection numbers
11,447 folksongs, one can easily draw a 1% correlation between the data groups. It is possible to £hd
exact, or almost exact copies of 17.3% of the folksongs contriiuted in 1997 m the Lysko codex.
These are quoted verbatim and are consistent with the old literature. Because possible variants can be
found for 26.1 % of the Alberta collection in Lysko, it is possible to postulate that old repertoire
..
therefore constitutes 43.4% of the current Alberta Ukmman Canadian repertoire. It is also possible to
postulate that 56.6% of the current repertoire is therefore either newer, or were never recorded in
 Page - 110-

Ukraine. The latter is, in fact,justification enough for collection these folksongs at this time. The
songs may in fact be consistent with style, content and format with folksongs in Ukraine, however, due
to the manner in which the immigration process took place, it could be that whole villages, or whole
clans moved to Canada taking with them the vestiges of their home culture/foIksongsgsIt could also be
that these are archaic versions and variants which have also undergone change and a&ptation m the
homeland in these past one hundred years. Nonetheless, the contributors to the current research may
well be the last known singers of any of these particular folk songs.

The musical characteristics of the folksongs in the 1997 repertoire demonstrate which aspects of
Lkinian folk song culture have been retained, and which have adapted most readily to Canadian
norms. The vast majority of the songs in the Canadian collection seem to fall in the do scale, or in a
scale of major character. A great number of these are hexatonic, without the seventh degree of the
scale. Meters are primarily in common t h e , 4/4,2/4, with simple triple, 3/4, appearing less. Simple
quarter and eighth note rhythms appear to predominate. The older versions sung by Mr. Labatiuk and
Mrs. Zibrowski appear to be more cioseiy reiated ro rhe mri;lms o:sF-~, es~ciiiLy~2 dizkts ~f
Western Ukraine, and as such have more complicated rhythms. There is a significant collection of
songs which have syncopation, and these appear to have their origin in the mountainous regions of
Western Ukraine - specifically the Lemko,Boyko and Hutsul tribal areas. The first wave of
immigration appears to have a high incidence of these miaI populations. Their songs have a strong
element of improvisational form, which in the passage of time is diminishing. However, the songs
provide needed rhythmic interest in relation to the "straightened out" forms commented on below and
as such continue to be popular.

The ritual songs which appear in this collection seem to have standard length phrases, and simple,
easily notated rhythms, sometimes inconsistent with the natural rhythms of speech, and this leads one
to theorize that they have been "straightened out", or simplified. 'Ibe songs tend to fall within a meter
and metric code that is regular. Where there is mixed meter, even those songs appear to be modified
somehow. An example of this is the song h n a Metie uam. Bila Mene Mati PoIksong #2], which
has a three measure phrase in its traditional format, and which was sung as such by its contributor in
 Page -111-

the coliection. However, within the Ukrainian social and dance community, the song appears in its
dance fonn with four measure phrases, essentially extending the last note over the fourth measure. The
singers appear to have followed the regular four measure phrase which is standard and popular in
Western culture, rather than the sometime assymetrical or unusual rhythms and phrase lengths more
closely associated with the speech patterns of native speakers.

AU of the songs appear in Ukmbh, with only minor exceptions. A few songs appear to be macaronic
in places. These songs are not considered seriously in the community, aud are only sung for fun. The
songs appear to have inchded various inconsequential Canadian references or terms such as "a dollar",
I care'' as well as 'Fuddle Duddle". Typically, when the song says something a trifle nasty
and ''don't
or bawdy, the reference wiU be to the English term for emphasis.

Themes within the category of lovesongs include courtship as well as happy and unhappy love.
Effusive outpourings of emotion are not evident, but are alluded to through image/syrnbol. The genres
slrrh c fi~netnllnment~have k e n av~Sded_
alt~setherin the Alberta collection except for the funeral
prayer Yeechnoyo p a w ' [Folksong #12]. However songs about family Life frequently descnie the
more darkly coloured sides of married We. Among the basic themes is the misfoitune of the wife.
However, the image of a docile, passive objectified female is supplanted by imagery of a strong
woman. This family Life song does not bemoan woman's fate so much as it champions i& dignifies it,
empowers it, and sees the humour in the sometimes red tragedy of the situation. The song qepsona
poxa Tposwa. Chervona rorha Zroyaku 'The Three Personalities of the Rose" Foksong #I061
speaks of wife beating, however, it is veiled in a dance, party song. As P. Odarchenko states I'tead
of an obedient, oppressed wife.the Ukrainian songs provide a picture of a proud woman who has not
lost her sense of human dignity and who has preserved her fieedom and independence?

The texts of the folksongs in this collection reveal a simple poetic fyicism. The language used is not
simply ordinary discourse. The topics and issues deal with information of a nature not otherwise
 Page -1 12-

readily accessible. Besides ritualized symbolic meaning, there are particularly sensitive values being
discussed in song. The Ukrainian language and culture which developed in an agrarian atmosphere is
not shy of defining various physical states with descriptive vocabularylary
However, there is a non-
judgemental manner in which very real human choices in lifestyle are discussed in folksongs, without
being vulgar or didactic. In general, life choice are not dictated, Because knowledge is accessible
through the singing of folksongs, subtle clear choices m values are available for observation. The songs
are sung in situations which have no immediate ties with the ritualized experience. However, the
repetition of these songs in a variety of life's moments makes them accessible knowledge. E a person
should happen to be in a particularly receptive state, such as heightened sexual awareness during
courtship then perhaps the kind of songs dealing with those issues have particular significance. For
example, the song 6 ~ n meHe
a MaTH Bila mene mati Folksong #2] t& of parents struggles with the
young girl who is being courted, and with gentle humor acknowledges folk wisdom about courtship
behaviors. Much signiscant folk wisdom is demonstrated m this type of song which seems to have
retained its value over time.

The songs do tell stories. As both AIan P. Merriam and Jerome Bruner discuss in their works, the use
of narrative form in the Song texts reveal literary behavior8'... When humon actionfinally achieves its
representation in words, it is not in a universal and timelessformula that it is expressed but in a story
- a story about actions taken, proceduresfollowed and the rest." The manner in which the wedding
songs in this collection tell the story of what is happening during the wreath weaving ceremony, or as
L. M. L. 2.Onyshkevych calls it, afurewell-to-maidenhoodpartygjreveal the proper sequence of the
actions and procedures involved in the wreath weaving. Also, in a completely dierent vein, the
interesting song about Hryts, m which the covetous woman retells the process involved in preparing a

=~erorneBruner, The Culture of Education, Hanard University Press, Cambridge,

Massachusetts, 1996. p. 158

"~arissaM. L. 2.Onyshkevych, How to Hold a Traditional W i a n Weddin? in the New

World, PIast, Ukrainian Youth Association, New York, 1995. p. 44*
 Page -1 13-

poison, and her ultimate failure to have her way, supports Bruners thoughts about fok narrative, a s
well as Merriam's ideas about literary behavior. In fhct,this particular folk song,#58, found in marry
song collections ( U ~ i n b ~C~nfiiw b t ~Shkeelney
, Speevanik produced by Kumka) has a special and
treasured pIace in the foIkIore. The stories toid through folksong scaffoId, prepare and inculcate in
narrative form, the processes involved in leaming how to live in the culture. Bnmer says a culture's
folk theories about the nature of human nature inevitably shape how that culture administersjustice,
educates its young, helps the needy and even conducts its interpersonal relationsh@s- all matters of
deep consequence.@ Yet it is true that the art of these folksongs exists in that they transform ordinary
reality in order to give it the power of expressing something which b not itseFS The symbols encased
in the folksong point to something which cannot be grasped but must be expressed indirectly..'
Socially unifLing symbols have grown out of the collective experience, and are accepted at a basic sub-
conscious level by the participants. They are socially mediated. It is in this context that the culture's
music may express meaning because its combined elements are figurative embodiments of the notions
and emotions it refrs to.*' The texts of the songs appear to appeal less to the rational than the
srnogo~d.LG$C by EI -+t;cnnl ~ W F E!Q&, S~m&ing in the songs seems
seems tc be c!verc~?,m,e
to be organized to contriiute to the meaning beyond the words. The meaning seems somehow
embedded in an emotionally engendered experience, where circul~lstancesin the lives of the singers
and the listeners have imprinted memories which are signifcant, yet in a sense inexplicable in words.

The release of tension, and the people's humour is evident in the way some of the complex rituals
involved in the U k r a ' i wedding are commented on through song. Equality of the sexes war deeply
ingrained in Ukrainian life. 11 was quite noticeable even in an engagement ceremony. When the
- - -

"Op. sit. p.162

u~ M. Yob, The Arts as W a s of Understanding: Reflections on the Ideas of Paul Tillich,

 Page -1 14-

young man sent his emmiwries to the young Iadj whom he was courting, she would then make her
decision known by handing them either a pumpkin ifshe refirsed to mmry the man, or an
embroidered ceremonial cloth, a rtlshnyR; ifshe was willing to marry him. me nrshnyk subsequently
appears in the wedding ceremony several timesmaOnly when the matchmakers have received
embroidered towels over their shoulders and the young man has had an embroidered kerchief tied on
his belt is visual evidence of the agreement given." The humour involved in the process is commented
on in the song Mae FI pa3 niwanonblry, M m yo raz deevchinonb Folksong #38] when the young
man is given a pumpkin to take to his mother as a consolation when the matchmakers cannot broker an
-
agreement with the young girl's parents. This has led to a humorous phrase here is a pumpkin for
your mother - which means, so much for your good intentions!

The values and goals of the community. to which their activities are directed are stated only with the
greatest reluctance in normal discourse. However, the foiksongs contain kernels of these concepts, the
prevailing ethos of a culture, a sort of national character generalization. An understanding of ideal and
real behaviour is open accessible through song texts, una'finai&, jsexrs are u d us un A i ~ i 0 7 iw~ i ~ d
of the group, as o means of inculcating vaZues, and as a mechanismfor enculturation of the

The Ukrainian folksongs are of necessity in the Ukrainian language. Though the predominant lmguage
in Canada is English, the songs continue to draw at the heart strings of the singers and Listeners. Most
of the conaibutors to this study were literate in the sense that they could read and write Ukrainian.
However. two singers were unable to refer in any si@cant way to the literary word to refksh or jog
their memories of a verse or two of the songs. This seems to show that there is a situation in the
Ukrainian community where people have continued to keep the music alive, h o w some parts of the

s ~ ~ M. s .L.a2.Onyshkevych, How t
.. wed din^ in the New
.
World. Plast, UkmmanYouth Association, New York, 1995. p. 42*

qetrov p360 Vol 1 UCE

%emam p. 46
 Page - 115-
lyrics more than others, and identify with them. It seems that sentence fhgments, and repetitive
phrases as well as melodic hgments have taken over in thei memories, and have come to
symbolically represent home, the famihr unit and the idealized homeland. Their psychic need for
.
identitication with home and hearth appears to draw tJhamm Canadians to their folksongs. Mr.
Labatiuk recounted that smging the folksongs in the particular order in which he and his siblings
remember them, m essence retells the history of his earlier home We. The literary symbolism isn't lost
to this generation, but they have added another iayer of significance. They have imprinted the
inexplicable onto the folksongs so that the ritual act of singing them constitutes "home? Culture rests
psychologically on a symbolic capociw in manfor grasping " s i d i n gfor" relationships that
tramend either mimesis of indexicality in the sense that, say, a totemic animal "standsfor" m), clan.
In a culture, things standfor ofher things.9' We seem to institutionalize knowledge injolkore, in
myth...tofit the myriad requirements cfcomrnunal liv ing...this stores knowledge, replete not only
with information but with prescriptionsfor how to think about it, comes to shape mind. So, in the end,
while mind creates culture, culture a k o creates mind.."

For the individuals in this study, the symbolic connection with the eco-sensitive ways of the past allow
people to recreate themselves in a very human image, away fiom the hussle and bustle of daily life in a
technoIogicaIIy demanding world. The folksongs tell of mankind's unique custodianship of the sod, and
of the earth's sustaining goodness. The folksongs play a grounding, foundational role in thei lives and
the syrnboIs/images refer to ritualized constants in human experience. In the pre-research phase,
people insisted that the folksongs revealed the collective unconscious of the people, that "Whenyou
listen to what the plain people are saying inthese foksongs, the past and the present are one." The
tumultous history of the Ukmhh people, and threats to their very survival has over time forced people
to deeply value the information tacitly hidden in folksongs for their very surViva1. Many botanical
references desmiing the wealth of Life sustaining products h m meadow and foresf places which have
 Page -1 16-

previously been people's natural habitat continue to be valued in some pockets of the population.
Medicinal properties and indicators m songs are real and understood to have power.

The folksongs which fall into the categories of courtship, engagement and marriage songs each, in
some way, contain a second layer of symbolinn. Some rural, agricultural motifs represented may, for
lack of a better phrase, be referred to as erotic symbolism. There are literate symbols encased in the
more contemporary songs, however there is a subtle sexuaIity evident in all of them, which Filiaret
Kolessa calls parallelism, where nature comes to represent all of We. It is important to note that in the
Ukrainian language, nouns have gender. Metaphors and similes are encased in almost all the songs.
Botanical symbols such as the Myna - Viburnum - Caprifliaceae L." (guelder rose - or high bush
cranberry) (note that this is not the low bush cranberry native to North America) come to represent the
nation. However, more significant to this discussion, is the foundation of its acceptance throughout
Ukraine as a national symbol. The color red is a symbol offaithfkl love. The Mynu is a symbol of
happiness infamily life, the hope of each young woman and young man about their wedded l i f e .
-
The guelder rose is used on most embroidered works to beau@ the home. L he fiower is comecied
with the whole concept of maidenhood, and virginity* The term rvati (to pull) means to pick (the rose).
The ritual wedding songs refer to the color red, and after the nuptial bed, to the ancient rite of
"breakingthe guelder rose" (lamannia ka&nY)." The guelder rose, ripe with h i t , is an Image used in
many of the folksongs, and contributor Mr. Meroskw Muyka says that this image of a ripe, h i t laden
tree, bending low to support its branches, is a communal visual ikon communicating why so many
other nations have sought to acquire the fertile Ukrainian lands. Black top-soil (chernozem - a

9 3 ~ ~ f C.l (1963)
~ ~ YK~aiHcbKblfi
~ ~ ~ , V H-RH~X
D~K 3BHWRX 6 ~CTODH~HOMV TOM
OCB~T~~H H~,
H~~ YKP~;~HC
n1SITklh( O C ~ H4~ICflb) ~KH~~
Hal&io~aflb~~G KOM~T~T,
BH&~SHU~ ( U ~ ~ B~HH~~W~'/TO~OHTO.
Fylymnyk, S., (1963) Ukraiins'kikii rik u Narodnikh zvichaiakh v istorychnomu osvitlenni. Tom p'iatii
(Osinnii tsikl) UlcraiinslciiHatsional'nii Vidavnichii Komitet, Winnipeg, Toronto.] p. 1O8**

%v.Petrov, Oral Literature of the People, The Wedding as an Act of the Clan and Wedding
Songs, Ukraine A Concise Encyclopedi& VoIume 1, p.359.
 Page -1 17-

particularly fertile type of topsoil) of Ukraine is in some places many, many times more deep a layer
than is the norm in other parts of Eastern and Western Europe. The word for so& zemlia, is feminine,
hence making it understandabIe that L k a b b s revere the mother-earth concept, almost to a goddess
worship. Individual kernels of wheat or rye have been referred to as symbols of earth's fertility, and
throughout the songs as symbols of cIan, sacrifice, kinship and f m . Perhaps physical symbols
refened to in the songs, such as breads, woven and braided in specific papatterns for various feast days,
when viewed, more obviousiy come to represent the braided head of a fertiIe woman - mother earth.

~ Zelenu-ya roofa, [Folksong#25] descriptors for finding the rufa (Ruta graveolens)
pyra,
In 3 e n e ~ a
one of the oldest known medicinal plants, h o w n in the days of Hippocrates, are given. In the native
folk medicine of Ukraine, the mta is used to support stressfbI childbirth, (broken heart, nervous
breakdown, excessive bleeding such as after childbirth) which Ieads one to understand the foiksong
better. The young woman curses her lover for leaving her to bear their child alone, and "a nobody1'
within Ukrainian society. One suspects that the young woman who has been left a "nobody" has born
dL:- " L O 1 A -.LL---*---:el
U U LI~~IU
~ VVU.UUUL 3-ia
...---Le&#.-
apyruuuclurr :.=.ZFnu?:ZEk!.

Wherever the song refers to an oak tree ( doob), or a sycamore mapIe (yaveer), the noun is masculine,
and therefore one can assume that the symbol refers to the strong, hard physical strength of a man.
Where the noun is bereza (birch tree), topolia (poplar tree), verba (willow), kalyna (guelder rose-high
bush cranbemy) these feminine, bendable botanical references are always a girl. The meesials (moon)
is always a young man, and the zeerka (star), a young girl.

Whenever the songs refer to sad, this is a well tended orchard in which the gardener has taken great
care to make it bear h i t , In the folk song literature, this becomes a symbol of happiness, prosperity,
love and caring. The looh, on the other hand is an untended alkali meadow, in which nothing much can
grow. It has come to be a symbol of longing, hopelessness, unfulfilled dreams.

Water, in its many different representations is revered for its generative and procreative powers, and in
some cases, a goddess to be worshipped. Many songs about couples meeting at the we& symbols
 Page -1 18-
associated with watering the horse, cold water h m a new well, inordinate interest in the new pail, as
well as walking barefoot over dew drenched grass, all deal with emergent sexuality.

The songs all offer clear lessons about what to do, and what not to do, and the consequences of
decisions poorly executed. There is an appropriate time to "tell all the truth"(grmdoo Rcxzatz] and that,
it is evident h m the lessons in the songs, is after the young couple is Until that time
however, it is more appropriate to zhartoovuti @lay in jest). Forced marriage is referred to as
shunoovati ( to respect the wishes OK.)

Everyday natural things are understood in a manner which respects the "dvoie virio" (two parallel faith
systems, one based on Christian beliec and the other, a deep respect and confidence in the powers of
nature. As P e t r o p explains, the cults of the lower mythology came to be mixed with elements of the
Christian religion. ...Thus the so-called double-faith (dvoie-viria) originated-) evident in these
folksongs acknowledges an earthy, mother-earth worship. The Ukrainian folk belief system does not
co~siderthpse et& -
swh~lsas necessarily good or evil. However. when the folksongs, which are the
tamer of culture, need to accommodate to a new cultural model, because they are in direct competition
with the Canadian cultural model, certain cultural adaptations have necessarily been made. The social
mores, the acceptance of this layer of nature explaining how to live with erotic topics, when sung or
spoken of by grandparents, fightened and shamed the grandchildren who were socialized in North
American cultural perception of sexuality to believe in the "dirty-ness" of any pseudwrotic songs. The
songs have over time become sterilized, and relationships idealized to the point that ordinary romantic
earthy symbols have come to be considered inappropriate in Canada.

The entire marriage ritual drama, as evidenced in the songs in that genre in this collection, is saturated
with customs and rites intended to show that the young girl is not chattel, and that the wedding is an act
of the clan. The songs elevate the place of woman and the power accorded her in her new position.
The songs caution her of making poor decisions, and graphically illustrate the consequences thereof.
 Page -I 19-
However they also illustrate the transformative power ofthe marriage ceremony. The wedding songs
are sung chiefly by women, and throughout the rituals, they develop a series of images which ritually
lament departure fiom her clan, and her transformation into a f U y fertile wornah The wedding songs
tell exactIy what is happening, what will happen, and order the events. The wedding songs are thus
close to incantations, and the fact that the verses in the songs tend to follow a pattern that is almost
he-form improvisational, the young woman is in essence encouraged to "write her own song" as it
were. V. Petrov also indicates that this style of improvisation is used in the lamentations, another
highly personal example of folksong which has URfortunateiy not been unearthed in this study."

Olexa Woropay in his two volume ethnographic study of UlrrainianfolkloreB indicates that the wreath
has many fimctions. He asserts that the wreath of flowers plays the same role in the marriage
ceremony as the white veil in other cultures. These wreaths are like natural crowns(as in many areas
of Ukraine, the bride and groom are called biahynio and kniaz: or princess and prince).* The use
of baninok or periwinkle, a delicate evergreen groundcover plant which grows f h m rhizomes, is said
to be a symboi oievrriasilig ~O'VZ- eVZi psii - svci jrr;g. Y%&z Z ~ cCf f ! ~ ~ cr
? ?dgcemxy
~
alone, the wreath acts within the folk magic to protect the young girl f?om wrong. The people believe
that a girl, having a wreath on her head, has power to enchant, and with these powers she is able to

98~ponaic,Om~ca.(1958) a w a i nauroro H ~ D O R VE ~ n o r ~ a & i r nnamic.

~ A TOM. I
H ~ D ~ ~ H ~ o - K~
~B M-A3
~ H W~~ D~HY ~ ; ~ ~ ~ ,ForOpai, Oleksa,
a~K, ~ ~ T HBCH~ AK~~B H HMBHX~H.
(1958) Zvichaii nashoho narodu Etnohrafichnii naris. Tom. I Narodn'o-kalendarni zvichaii - Zirna.
Lkaii'ke Vidavnitstvo, Munich ] *+80panak, O n e ~ c a(1966) B ~ r t a 7tiuoro n w n v
Enior~&icrn~fiH a H C . TOM.II H ~ D O L L H ~ O - K ~ 3 ~8~~H-M ~ D HY~K ~ ~ T HBHA~BHHL~TW,
Aflif0, C~K~
M m ~ x e n .woropai, Oleksa, (1966) Zvichaii nashoho narodu Etnohrafichnii nds. Tom.II Narodn'o-
jutlendmi zvichaii - Jito, Ukraiinske Vidavnitstvo, Munich.] **

%rksa
..
M. L. 2. Onyshkevych, How to Hold a Traditional IJkmmm Weddine in the New
World. Plast,Ukmbhn Youth Association, New Yo& 1995. p. 45*
 Page -120-
punish those who would wish her ill. The wreath protects the young girlfrom the "evil eye". lrn

Few plants have become more strongly interwoven into song, story, legend and ceremonial customs
of the Ukrainianpeople than barvinok Yet it hasfav characteristics to attract one's attention It is a
modest and unostentatious traiiingplant, with evergreen leaves, which produces small, s o l i t q
delicute blue flowers. One unusual characteristic of barvinok is that its leaves stay green even under
snow. The botanical translation of barvinok into the EngIish Ianguage is periwinkle. But upon
translation barvinok loses the strange charm, love and emotion that has been built into it over
countless generations by the Ukrainianpeople. So we shall drop fhe tern periwinkle right here. To
W a i n i u n Canadians barvinok has an additional meaning. One of our poets, who lives alone, has
planted barvinok outside his house. He says that everytime he look; out through the window, the
barvinok says to him, "hey, I ampom Ukraine, too, " and that helps him to maintain that invisible
spiritual link with the land of his people. And it strikes a responsive chord in thefourth artdfifih
generation Canadiuns when barvinok is pointed out ro themfor t h e m time. They respond in words
such es i k ~ "Tf;u":'s
. :kc s,h~~,Tfhc!
my Lk&!'Cln ,~reot- eat-gand-mother wore in her wedding
wreufh when she exchanged marriage vows with my great-great grandfather. I f it hadn't beenfor the
barvinok I wonder iflwould have been here at all." ...Burvinok has another kind of charm.'01 The
periwinkle being used to weave the maiden's wreath at the vinkopletennia, is described b y the starosta
[matchmaker, or master of ceremonies] at the Urwyshyn wedding as "neverwilted, never fkozen even
in the harshest winter, always enduring through all types of weather"and the circle created in the
weaving of the wreath is "the endless circle of time, endless, eternal love".

One~ca.(1966) 3ewai waruoro waoonv E~nomacbirnnfinamc. TOM.11

Lm*~ponaic,
Hawn~bo-~ane~na H Li ~ ~ T- n i ~ o , Y ~ p a i i ~ c bBHJJ~BHH~TBO,
S Bm ~e [proropai, Oleksa,
MK~HXBH.
(1966) Z z
.
I .s1
TI . . ., .
Ukraiins'ke Vidavnitstvo, Munich.] p. 300.**

lo' kydore Hlynka, m . .e i a

J3aI-rnat.a"Published in the 'TJkmman Voice", Trident Press Ltd., Winnipeg, 1981. p. 97-99
 Page -121-
Mr. Muzyka discussed two versions of the same folksong Oii H e XOAH r p ~ u mOi
, ne khodi Hritsyou,
Folksong #58] and Zustrated that the contemporary version sung by the younger generation has
become a sterilized tale. The original tells of a girl poisoning her former lover in spite, while the
current version tells the story far more tamely. References to the power of herbal medicines, a stock in
trade of the peasant mid-wSe (kosharka)and medicindmagic woman (vorozhkao), have slow@been
erased. An American acceptance of the pharmaceuticals has imbued the alternative medicine tradition
with a negative stereotype. This does not mean that the alternative medicines have lost their purpose,
but that the songs no longer advise their use. Songs which in the past would have graphically retold, in
minute detail, the process of collecting, drying?cooking, and preparing herbs for their use as magic
medicine, have glossed over the method, implied rather than graphically stated the outcome, and
sometimes (Oii ~e XOAH FPHUIO,Oi ne khodi Hritsyou Folksong #58 as sung by Mr. Merosfaw
Muzyka) that meant poison. There is power in the folksongs, however the ingredients have been left
out of the more contemporary Ubinian Canadian versions.

Lyric songs, inciuding iuiiabies, traciirionaiiy express symboiism and archaic ebmenis m k d wiGi mere
modem elementdmThe collection here indicates that a selection process has been undertaken, and the
songs that remain contain primarily simplisitic musical structures and general themes of home, peace
and love. The melodic structure seems set, and not even quasi-improvisational. The phrases are of
regular, symmetrical length. There is less use of melismatic formulae especially in the lullabies, which
in the Ukraine collections generally use diminutives and endearment tern. Use of name diminutives
and poetic terms of endearment, as well as melodic embellishernent as are found in collections fkom
Ukraine and in the source materials have not been found in the Alberta coflection. Less use of
improvisational forms, including songs which discuss home and individual people is evident in this
collection. There is more a set style, a song style to the songs in this collection, The songs do not have
the same simple romanticism with adjective and adverb in descriiing either the characters in the songs
or the natural elements. Songs in the traditional setting have more poetic lyrics. It is unfortunate that

'9.Odarchenko, Lyric Songs, Oral Literature of the People, m e A Concise Encvclopedk

Vol. 1, p.365
 Page -122-

these elements all seem to be related to the decline of linguistic fluency and Limited letter-literacy.

Several of the contriiutors have come to have respected positions in the Ukmhh Canadian
community due to their special form of literacy with the music or the foIkiordor ritual Ecnowledge. The
concepts and accumulated We-knowledge encased in the songs ate accessible. Mrs. Zwozdesb
offered a key to understanding the symbolic language, the hidden message within the folksong.
.-
Although the researcher speaks U k r a i i and is famiIiar with many Ukmman folk songs, Mrs.
Zwozdesky prompted the researcher to a closer, more intimate, more organic observation mode. This
oral tradition may be treated with child-like naivete, however the contributors pointed out the social
values not obviowdy evident to the untrained eye-

Mrs. Zwozdesky rehsed to interrupt the interview regarding the wreath weaving songs until she was
absolutely convinced that the researcher understood the essential elements, their meaning, the ritual
actions which take place, and the reasons for continuing them. She "spelled out" the ritud knowledge
. .
*-
and the toMore associared wi& the singing. To &is c ; u n t & ~ G ~ sigScziii2z ~ f f ; ~ k k & gk
ts t
nurturing of sensitivity to the subtle beauty in communal life was paramount. The expression of these
innermost feelings of connectedness, of poetic imagery in everyday human contact was difficult to
express in words. Folksongs evolved from primitive roots and rituals, but they also encapsulate the
current experience, perhaps especially the pivotal life changing experiences which are constants in
people's Lives, such as birth, courtship, and death. It is as though the words and phrases of genuine
comfort and suppoa which need to be shared with fiends and family at these events are too difficult to
say. The folksongs acknowledge these events without the present day emotion, and contextualize them
within the cyclical nature of We.

A very interesting contribution made by Mrs. Ama Zwozdesky is an example of old-country cornhip
tradition. The pliasannya dance which she has associared with the Christmas season is a remnant of
traditions only a h d e d to in the reference documents including Woropai and Kylymnyk As much as
can be deduced, without a definitive folkloric explanation, is that this song/dance is performed by a
young man with his fiends in the home of a young girl with whom he wishes to initiate a public
 Page -123-
relationship. The singer and the young girl engage in ritualized banter, humorous exchange in versified
form, with gestures and teasing indicating either her interest or lack thereof. Mrs. Zwozdesky indicated
that young men came to her home when she was younger and single, and performed this pliasannya for
..
her. The researcher's personal recollection of Ubman summer high school courses in Winnipeg also
prompt the memory that thispliasannya is the kind of dance or movement which the courtjesters
skomorokhy performed in Kievan Rus' for the royal fhdies a thousand years ago. It is interesting to
consider whether thispZiusmnyu takes its name and historic tradition from this period in time.
However, W ~ r o p a y ' comments
~, on this pliosonnyu event and song as accompanying or following the
procedure involved in carol singing. A group of sometimes twenty carollers bomg men) whom the
clergyman has prepared with appropriate greetings and wishes for the season, visit homes with carol
singing, and an entire program of skits, wishes and Christmas carols. When the hosts offer food and
drink to the singers, several of them take the opportunity to dance with the housewife or the young
daughter of the house. Only then can the group begin the serious job assigned them by the clergyman
or elder, that of singing each individual in the home an appropriate Christmas carol or "schedreevh"
(see paragraph 'oeiowj designed to address heir pt;rsoid o i i - i t b i , spiihal Gi G~cT~-%~,zFL2h is 'u2;=
followed with highly poetic formal well-wishing. Upon the conclusion of these formalities, and to leave
the home with the happy sound of laughter, the guests begin a jumping, hopping routine of dance steps
referred to in the song I l p ~ i ~ go
u n~~e e p WTHPH
~x m n H , Preyshli do dveryaRh chotiri khlopi,
Folksong #86] which Mrs. Zwozdesky sang. Courtship songs and rituals such as stylized dances as
alluded to in this song appear to have disappeared h m the Canadian repertoire. The old couniry
tradition of seeking the girl's family's approval to court the daughter seems to have been eliminated
from the oral folk song tradition and ritual here. Pursuant to advice regarding the place of this song in
the folklore, this collection has Listed this song in the Christmas genre.

-
Several songs in the collection are Wkmman Christmas carols, koliadi, and also have ancient origins.
There are two theories on the etymology of the word Koliada (carol). The older theory is that the word
comes fiom the Greek "kalanta"and the Roman "calendanmeaning the "firstday of the month" or a

Wp. cit p. 85-86

 Page -124-
new year festival of the winter solstice. However, V. P. Petrov of the U k r a b b Academy of Sciences
traces koliado to a completely diftierent source. In Latvian, 'klada" means "a call, a yell". Because
winter festivities in pre-Christian times, on the territories that are now calIed UIcraine, revolved around
the commemoration of ancestors (not simply a celebration of winter solstice), Petrov asserts1wthat the
koliadi were sung to summon the departed ancestors to take part in the winter family feast Death was
only considered a departure, and did not interfere with W y festivities, m which all generations were
to participate. Both the living and the dead had obligations to the family, and the koliadi called the
departed to return. In Folksong #6, 6 Bw$meeui, no Onei, rel. H ~ Mn, u , In Bethlehem, among the
Hebrews, Hey, For Us, the lyrics identify, by name, people that have departed, and invite them to join
with those living,and bring gifts to share with the new born Christ child.

Eroticism m folk song has slowly been eliminated fiom the urban dwellers songs repertoire, but the
rural connection ( Mrs.Zibrowski) continued to include what North American observers would call a
"bawdy" element. These elements are taken with great humour within certain communities. Over and
above the folkloric and music analyses however, it becomes necessary to comment on the relative state
of acculturation, assimilation or change evident in the Ukrainian folk singing community. It must be
acknowledged that as foreign language speakers in a primarily English speaking environment,
Ukrainians (as other linguistic groups) have rather successfully integrated. The use and function of
their music is related to many other aspects ofthe prevailing culture, the North American culture of
which they are a part, Memarn indicates that, as human behaviour, music is related synchranicah'y to
other behaviours, including religion, drama, dance, social organization, economics, political
structure and other aspects...........forced to move through the total culture..........music reflects the
culture of which it is apart.lo5

Through centuries of discrimination in the old country, the immigrant families learned to turn inwards

'OiV. Petrov, Oral Literature of the People, Ukraine A Concise Encvclopedie Vol. I., p. 354

10SMemam
p. 47
 Page -125-
in times of trouble. The sign5cance of the War Time Enemy Aliens Act on the economic aspirations
of the first immigrants is even now a topic of discussion among Canada's legislators. However, it must
be acknowledged that the immigrants coped, and survived even this indignity. Their resourcell way of
turning this dficult time into a period of c u l flowering
~ has yet to receive public attention. The
culhual clubs in which they performed smging/pIay-dramas (which Mr. Muzyka, and Mr. T a t a m and
Mr. Labatiuk in reminiscing about his father, referred to as npredstmtlennia") and the natural
extension of this phenomenon as performing groups travelling within the other Ukrainian communities
on the prairies in fact sustained this immigrant population during a difficult time.

The interview with Mrs. Jean Bidniak, the last of the contriiutors was profoundly moving. She, in fact,
was perhaps the most astute in assessing the relative state of change within the Ukrainian community.
Possibly the most "Canadian" of the contributors, she participated in the Ulo?linian music community in
-
her developmental years, in a fashion most logical to a prairie Canadian through radio. Her most
memorable recollections of enjoying the music making experience revolved around listening to,and
singing along with the ~ h i n i a n
Hour, a radio show forrneriy hosted by Ean Cnomiak on the CFCT
radio station (Camrose, Alberta). Over a period of time Mrs. Bidniak has, with her family, noted a
serious decline in community based radio programming. In her eyes this loss of community
programming has isolated and separated the component members of this organism called the Ukrainian
community. Mrs. Bidniak astutely recognized that the community is not only those with whom one
attends church, or those with whom one associates casually, but that the community is every person,
every integral member of the extended family in need of a psychic homeland, which, for them, was
provided through vicarious experience listening to the Ukrainian Hour radio program.

It is remarkable in Light of this need to assimilate, both for economic and for social reasons, that the
Ukrainian community retains even a semblance of its culture and folklore. This is due in part as a
result of general awareness of the cultural and Linguistic uniqueness of the many peoples in the world.
Among people whose families have immigrated to Canada with a foreign language and perhaps visible
expressions of their culture, a greater respect and tolerance for diffkrences is shown. A perfect
example of this "coming together" of various peoples was evident at the Unvyshyn wreath weaving at
 Page -126-
which the ritual songs were recorded. It is important to note that the Uzwrjhyn familv are successfblly
integrated "old Canadians" among the Ukrainians in Edmonton. More than half of the guests at this
..
Ukmman style wedding preparation were not Canadians, but visiting guests and relatives of the
groom-to-be fkom England. They, as a group, f o d y requested that the m y borrow Ukrainian
outfits so that they would be virtually indistinguishable from the crowd. The ritual proceeded as
planned but it was evident that the kontinuation of the clan" was understood and valued by ail the
guests. The entire ritual action of the vinkoplettenia (ritual wreath weaving) was accepted, valued,
and in fact participated in by guests from England. The groom's fiunily participated in the ritual
bIessing, the groom's men bartered, laughed, sang (We All Live in a Yellow Submarine by the Beatles)
with the guests, and the entire "new clan1'topped offthe evening with a ritual circle hlorneiku dance
on the street.

In summary, the images in the foksongs consistently direct attention through the persona! experience
toward the universal. The circle of time, the cycle of natural events, and continuation of the clan all
seem to have more signiiicance than the minutae of&y-to-&y issues. Tnt: songs hciicak G i i i
people measure a success~llife in their ability to sustain Life and share this ability to sustain life with
children. famiIy and community. The people's determination to continue to exist inspite of all earthly
temporal, physical difficulty is promoted and passed on through its folk wisdom, through its folk song.
In today's uncertain world these songs in some small way codkm that tradition and the cycle of life are
truly powerfbl forces in the cosmos and this places all the tedious, mundane trivialities in proper
perspective.
 Page -127-
CaAPTER 6 FINAL COMMENTS

This study has sought to uncover the extant Umbianfolksong in Alberta circa 1997. The purpose has
been to discover the musical and folkloric characteristics of these songs as compared with Ukrainian
folksongs fbm the old country. This process enlightens the discussion regarding change, and cultural
adaptation, acculturation, and integration. It also supports the ratiorude for inclusion of well researched
Canadian folksongs as preferred choices in general music education publications and curricula It has
been useful to comment briefly on how time and separation fiorn the homeland has impacted the
repertoire of folksongs which remain m active use by the descendents of the hrst immigrants to Canada
ftom Western Ukraine. Since this is the first study of its kind with this population, it is premature to
definitively comment on the status of Ukrainian folksong in Albeaa SutFce it to say that change has
been evidenced. Indications show that this process of evolution will continue. Almost two hundred
songs were collected, from seven home-situation interviews, as well as recordings taken at one social
event, and one ritual event. Of these, just over a hundred folksongs have been retained in the final
collection. They have been codified and analyzed, and compared with authoritative documents.

A. Suggestions for Further Research

The work at hand has based its findings on the ten volume codex anthology of Zenowj Lysko. In this
attempt to collect and codify the musical elements which appear in the folksongs of the Ukrainian
people living in Kalyna country in 1997, various incongruencies have appeared. As this research is the
f m t of its kind to consider the emergent musical elements as descriptive of the collection, only the
Lysko document provided thorough enough data for comparison. This is unfortunate because earlier
ethnomusicological research, prhnarily collection, has been conducted in Canada, but not gathered in a
practical usable form for research and comparison purposes. Significantly the collections of
recognized musicians in the Ukrainian block of east central Alberta, such as those of long time
successfid fiddler Metro Radomsky have not been codified for their musical elements. Mr. Radomsky
intuitively knew that the folksongs of the earlier generation were being lost in the passage of time. He
enlisted the support of many local musicians, including the Bidniak's who contributed to this research,
m order to record as many long play discs as possible. As the BidniaIc's indicated, Mr. Radomsky
needed only to hear that someone knew another ukrahh folksong before encouraging amateurs to
 Page -128-

record what they knew. The process, one can imagine, wasn't highly selective, however within this
collection, valuable information exists which could W e r enlighten ethnomusicological study in this
area,

As the pre-eminent ethnographer scholar in Ukrainian Canadian folklore, Dr. Klymasz has been
instrumental in laying the foundation for folkloric study. Dr. Robert Bohdan Klymasz, during the
(1960-80's) period of his employment at the Museum of Man m Hub Ottawa,collected a signiscant
number of Ukrainian folksongs on the Canadian prairies. His work is t r a n s c r i i the folklore elements
discussed and analyzed. Unfortunately, the musical elements of his work have received scant attention.

Further research into the collected folksongs of these two individuals in particular could provide much
needed information. Among these folksongs there will most probably be found songs which descnie,
with great personal immediacy, and most probably in improvisatory form, the events which d e s c n i
the sequence of events that have shaped the Ukrainian Canadian community of today. These large
collections are worthy of academic attention m the fiture.

B. Pbilosophical Musings
There has been a major revolution in the learning theory which now reinstates the mind as an essential
determinant of human activity. Bennett Reimer in 1993 summarized the basic premise of this
movement stating Our actions, we are now convinced, are not the cause of the human condition. or
the source of our human nature. Our actions are the results of the condition of our minds. IM People
are not what they do, but how they do. The idea that education exists to cultivate the mind's powers, is
a revolutionary step in the history of intellectual thought. As h.Roman OnufEjchuk of Simon Fraser
University once said, You are what you

'%en.net Reimer, Music as Cognitive: A New Horizon for Music Education (Kodaly Envoy,
Vol XX,No. 3, Spring, 1994) p. 16

'"'Prof. 0nufiijchu.k instructed UbainianSummer Programs throughout Canada during the late
1970's to 1980's in which I participated, m Winnipeg,Edmonton, and Thunder Bay.
 Page -129-
A point of view gaining considerable credence in the social and behavioral sciences is that intelligence
is not one individual faculty. Howard Gardner, perbps the most publicized proponent of the theory of
multiple intelligences, believes that different types of inteUigences are required and valued in specific
c u b s , and that these different modes of symbolization merit study in their own right Rather, we
have dzjieereent mental organs or dzyerent informationprocessing devices; each of them has its own
rhythm, its own mode of development, its own pace of development, a d that you can know a lot about
somebody's musical ability. Yet you couldn't tell anything about the way they draw or how they
speak 'Op

Howard Gardner therefore proposes a new definition, that an intelligence is the ability to solve o
problem orfashion a product - to make something that's valued in at least one culture. '" He
emphatically states thatpeople's ability to do something, to uccomplish something in the world, is
really a very important part of being intelligent. "O

This revolution in learning theories is perhaps most exciting for music educators since music and the
other arts are being regarded by a great many very influential thinkers as being among the major
ways thar human beings are cognitive. Music.....is thefoundalional mode of cognition - a basic way
that people create meanings and share that meaning with others. And because creating and sharing
meaning are thefLndamenta1 acts of mind, music isfirndamental to any serious concept of mind and
fo any serious concept of education. "'
It is in this light that the study of folk song is thrust forward into the realm of learning theory.
Educators concerned with apportioning specific doses of education at developmentally appropriate

'qoward Gardner, Music as Intelligence, (Kodaly Envoy, Vol. XX,No.1, Fall, 1993) p.15

ennet net Reimer, Music as Cognitive: A New Horizon for Music Education (K- Envoy,
Vol XX,No. 3, Spring, 1994) p. 16
 Page -130-

phases have perhaps not yet adequately recognized, nor acted decisively enough to demonstrate that
purposeful study of a culture's accumulated foIksongs addresses precisely these issues. Learning
theorists are now realizing that through the socio-culntral process ofexpriencing, creating and
acquiring folksongs, people become challenged with mmicaZJu rneoningFIproblemr they have to solve
by using their abilities to think musically. They hmte to use what they a 1 . y know and the s M s
they already have to stretch to new Knowings and new levels of sMl by their own, active construction
ofpossible solutions to the problems they encounter. They have to be problem solvers - and problem
finders...have to present real-life rnusjcal situations that are rich withfii@l musical chaflenges they
I12
have to work toward meeting.....creutors of their own learning and less recipients of our Zeurning.

Certain cultures, times and places present more opportunities for musical transmission of knowledge,
sensibilities, values, wisdom. A people's culture values different nlpes of expression at different points
in its evolution. A c o m m ~ strategic s fwus on particular types of activfu nurtures the development
of particular intelligences which, when shared with a community, evolves into a symbolic Ianguage that
tfa~~rnhs s ~ k *-vd-d u-c--a culu
--A ----w
b u ~ ~ ~ c s l lV
rwL.a cmvnt *
w.t-ncw
ru rJ f i n t ~ l l i o -
t ,r, -n-J- i- *rn- -t ; ~ m o
rr-----rg-..- ~ mpans:
n~p a realization that
the intelligences that develop reflect the [earning opportunities in a culture. So, ifyou want to
develop intelligences, you've got to create a contert where there's lots of opportunities to use those
intelligences. 113

As political and social Life in the world change, Literacy and the influence of an urban-like life becomes
more extreme, traditions of the past have been demonstrated to be in slow decline. This is evident in
the observations of many ethnographic researchers in the field since the first half of the nineteenth
century'14. The political and social stability of the world has benef3ted f?om the diminishing
signiGcance of an oral tradition, and encouraged the loss of language and tribal loyalties, as well as

Gardner, Music as Intelligence (Kodaly Envoy, Vol. n,No. 1, Fall, 1993) p. 19

'13~oward

'14~onecca,Qinnpe~.(1983) Yu~aiwcbccavcna cnomc~icn,K ~ H ~ L I C ~~ HKCHT H~ T ~ T

YK~~~HC c T~) fK
~ iH
f i ,hX b 6 e ~ ~ ~Y bH ~ W
~ ~f Ci H T
~M O ,H T O H .E o ~Filiaret.
~T s s ~(1,983) UkrahSb
usna slovesnist', Kanads'kii institut hiios'kikh stud& Aibertskii universitet, Edmontonlp. 149**
 Page -131-

changes in receptive skills necessary for their flourishing. The western worId has tolerated immigrant
languages inasmuch as they were necessary baggage to the influx of cheap labour- The trend towards a
unilingualNorth America0 continent prevails in todays pervasive multi-media culture.

We seem to be a culture very actively pursuing "information" at the expense of knowledge and
interpersod skills which permit people to live in peace and tolerance. The media continues to
program for the lowest common denominator of b m c y content, with disrespect for the environment,
and widely accepted gratuitous violence being pervasive elements targeted to catch the attention ofthe
youngest most vulnerable segments of our population. This lowers the common denominator called
culture among us. The entire North American continent is evidencing a heightened concern regarding
the clear decline in literacy nnd common cultural k~owZedge.'~~
However, it must be stated that
culture is an ongoing phenomenon, one which responds to the human and physical situations of
contemporary We. Individuals choose those musical experience which most reflect their current reality.
Shared meanings and shared values require a social group with whom one identifies. Quality music is
therefore a prerequisite for the distillation ofa cultural style. A s modern people fry ro locate
themselves in a world that is changing with bewildering speed, theyfind music especially rewarding,
for music is among the most tenacious cuZtura2 elements. Music symbolizes a people's way of lfe; it
116
represents a distillation of cultural style, For manys music is a way of life. For many,music
conveys the most valuable of culture baggage, the centuries old experiences with the human condition,
with the acquired wisdom about basic human relationships.

The Multiculturalism Policy of Canada signed in July 1988, recognizes cultural backgrounds while
directing assimilation of immigrants in Canadian Culture, according to Dr. Aradhana Parmar of the

Gardner, Multiiple TntelIieences - The Theory in Practice, Basic Books, New York,
'lS~oward
1993. p. 68

"6JeffToddTiton, WQrlds ofMusic,. An Introduction to the Music ofthe W orld's Peoples.

Schirmer Books, New Yo& 1984. p.xv
 Page -132-

Faculty ofGeneral Studies (University of Calgary)."' The complexities involved in integrating the
diversity of Canada's immigrant population has led to an oversimplification of the term
multiculturalism. Respecf awareness, and education should lead the enlightened to recognize that
Canada's important advantage in nation building is its history of integration policies. As educators, it is
important that we exhibit the finest, most elegant form of citizenship - and that requires us to build on
our history of integration - at the basic level - with songs, games, stories, and world views which
enlighten the viewpoints of future generations.

Native Ukrainian speakers make assumptions that because old Canadians don't speak l k a h k n well,
that they have assimilated and are therefore less Ukrainian (it is really a cu1tural arrogance). However,
many culturally assimilated UlcrainianCanadians seem to be saying (especial&Bidniak, Zibrowski, and
-
Labatiuk alI whom have achieved a certain level of aftluence in the Canadian environment and who
have perhaps sacrificed language use for reasons of social and professional development) that it is not
necessarily only the Literate forms of language upon which one should focus attention. Culture,seen
.
t
tnrOU@
w .l
~ U -L--+
S E -1"- J
OWUL rruv en- ~ h n n tn
-.-he
v r r r c--u-.rrr--
--c k -- one's
~.~in --- *fso& t h e and p e r s o d Life.
Clearly, the contniutors have expressed a belief that the value of a life Lies more in what is created
throughout that lifetime. Their roots don't limit them, but give them a foundation fkom which to
continue creating their Lives. W e it is true that diversity has been the focus of multicultural education
m many instances, these generous individuals have enlightened my perception of Ukrainian Canadian
culture in a difTerent way. Their hope is for an enlightened integration of visible symbok, language
born communication and cultural values deeply embedded in the everyday life of the people. Evolution
continues unabated, uninvited, inevitably. This discussion will inevitably continue to engage the
thought processes of future generations.

Upon thorough analysis of the topics and themes addressed in the lyrics ofthe songs in this collection,
it has become obvious that the songs continue to speak to some very basic human philosophical
challenges. The songs speak of love, beauty, sorrow, faith, humor, and in each case the songs support

"?Michael Leung, Bridging the Gap Between Us, The Gauntlet, The University of Calgary,
Volume 38, Issue No. 21, November 6, 1997. p. 11
 Page -133-

and value the individual, champion the downtrodden, and continually direct one's fwus to nature, as if
it were one universal spiritually unifjing force. The cycles and rhythms of nature continue to beautift
and feed the soul whether the literal image speaks of a flower, a hill, a mushroom,or a person. These,
I believe are universal truths which resonate in a l l folksong. The Ukrainianterm no6yr, poboot, or
lifestyle (while we are here) is perhaps a better descriptor for cuhme than the term KymTypa,
kooI'toora. 'The physical culture, or lifestyle ofthe people is d e s c n i m the thought processes and
language born communication, but the physical lifestyle or culture is also a creative response to thought
and language. The people persevere in understanding that to continue to exist as a people is truly a
great accomplishment.

To see the world through the eyes of folk song is to participate in the accumulated wisdom of the
world, to develop sensibilities to the symbolic languages transmitting societal values and concerns, and
contributes to the unification of humanity. This is precisely the reasoning behind the use of weli-
documented world music in the school curricula. In Canada, we have the great advantage in
recognizing the music of the world - in our own citizens and n r i g h a i , ~ .X e c;~"uIc;?g
&kiuzip.t
peoples who have the privilege of maintaining their historical tie to each individual homeland is truly a
uniquely Canadian expression of world citizenship. The accumulated wisdom embedded m the songs
of Canada's immigrant people will continue in perpetuity to be a worthy target of ethnomusicological
research.

This study, I believe, supports the rationale for folksong study within the cultural education strategy
supported in public education. Among the worthy goals of public education continues to be fostering
of independent life strategies. Where there is an opportuniity to mediate life experiences through
socially supported culnrral-literacy focussed activity such as the singing of folk songs, in a way which
does not decontexrualize learning, but engages the myriad of thought processes involved, educators
would do well to follow the precepts of every singing culture in the world. To do otherwise would be
to distrust the wisdom of the ages which informs us that musically mediated experience is a
fundamental mode of cognition,

The political reality in Canada is that English Americana constitutes the dominant culture. Over the
 Page -134-
period of acculturation, the contniuting Ukrah.lian Canadians have intentionally assimilated into the
larger organism called Canada. Their homes, their children, their life styles ail appear Canadian and
neighborly. However, activities which take place m their lives have taken on ritualpurpose. The
rituals associated with the spirituaVcultura1traditions are considered very dear. The poetic language
and imagery of home as articulated through the folksong has became an outlet for the expression of
their psychic need for community.

The Ukrainian folksongs in this collection all represent years of cultural and psychic separation and
adaptation fkom the homeland. The social mores encased m many of them represent an aural tradition
through which the average person was made literate in the ways of living m that culture - with
knowledge, subtle or practical, encased in the folk song. Given the rapid change in modern lifestyles, it
is increasingly difficult to make the next generation aware of how tradition prepares independent Life
strategies. The contemporary age seems to thrust the next generation into the h y unprepared,
unprotected by heritage or traditionally passed wisdom. As the only creature on earth who has the
_Dowerto create his own reality, humankind owes its young more.

On a personal note, I have come to recognize certain truths about my method and teasons for having
pursued this particular study. The fundamental philosophical beliefs one holds about what it means to
be a human being at this turning of the milleniurn have IittIe to do with obvious elements of our so-
called ffmodern"lifestyle - ie. audio-visual media, clothing and food styles and preferences, advanced
technologies, but have far more to do with ones perception of the world. To better one's perception of
the world requires an intimate understanding of language in the culture. It requires one to delve deeper
into the second layer of all culturally mediated cornmunicatioa, into the thought processes of a people,
to try to understand why people do as they do.

Isidore Hlynka speaks about how the average linguisticallyUkrainian Canadian feels about being a
Canadian. The dictionary definesfolklore as: traditional customs, beliefs, dances, songs, or sayings
presented orally and tinreflectively among a people or a group. Please note the word "unrejectlively"
in the definition It implies that the folkloric elements of a h r e are a creation ofthe people and have
become psychologically and instinctively,part o f t h e . very nature. ...it endows each group with an
 Page 435-

identity which distinguishes itfrom every other ethnoctrltural community- '" The common elements
which identify the U k r a b h Canadians umeflectivelyvalue the f d y , family traditions, spirituality,
love and fidelity, and these basic commonalities identifjr and distinguish them among the very fine
immigrant descendents which settled the Canadian prairies. Those immigrant families who chose
Canada over other possible adopted homelands were a brave sort, who clung to some hdarnental
principles in human conduct to ensure their SUCYiVal.

About half way through the study, it occurred to me, that fundamentally Ukrainian people who h e
through their traditional culture do not understand the concept of "vacation" or "fiee-time". All the
important elements involved in creating a family culture; food, clothing, home, spirituality, culture,
language, entertainment, revolve around a fundamental core, that of an extremely deep expression of
what North Americans call the ''workethic''. In the minds of the people there is no separation
between a festival and labor. work and play, a household task and dancing and singing. Thefistivals
in the religion of the people involve labor. Work and play are combined. Amusement is always
directly reiaied io ;i/r's As szc pz-1;
rti>~ri~iii.e.~-''~ szid :G zt,??S g e c t ~ n , k 2g1
r !05)?) 7) ICE&
go to the store, and buy perogies. and cabbage rolls, but itjust isn 'r going to be Ukrainian Christmas
unless I make the meal myselJ Active involvement in all aspects of the preparation for any f a t day,
any holiday, any family time, and any significant or pivotal moment in a human being's life involves
creation, and for Ukrainians (about whom I speak at this moment at least) that always involves work.
In the minds of the people, the work is the culture. The method and means which express humanity is
evident in the work which the culture carries out.

Although not a musician, Hlynka speaks with the wisdom of many immigrant peoples in Canada. As
do Koddy, Kolessa, Lysko, Shevchenko, Gardner, Reher and Elliot, the common man values the
common histories of mankind. Musicians and poets among these fine thinkers have over time believed,

1'8~sidore Hlynka, &

'Ic
h r th
Published in the 'Vkrainain Voice", Trident Press, Ltd., 1981. p.32-33

"v.Petrov, Elements of Pre-Christian Religion and the People's View of Life, FoIk Customs
anci Rites, U u k r a VoL VoL .,p.342.
 Page -136-
as I do, that music is a primary mode of cognition, and folksinging is fiistoricaily one of the most
powerfbl ways cultures assist in the development of the human intellect Mankind and Canada and
our age would be much poorer ifthe variety of languages, of customs and of memories disappeured-
To sufferporn cultural amnesia is a terrible and bewildering @ictio, for we need our communal
memories as much as we need our personal memories, not on& to teach us who we me but also to
comfort, to sustain and to renew us... When a people is multiracial and multilinguuol...Such a notion
is...richer for such diversity and variety. It is by celebra~ingand preserving a tio on 's variety and
diversity that tolerance and brotherhood are taught. Uniformitydoes not create tolerance. It fosters
intolerancefor anything dyerent. A single language does not necessarilyform brotherhood. N just
as readily makes mobs and sets b a n h g o m rolling-..It is an attempt to make people more aware
that they make history, and in turn, are shaped by history. It is an exercise in honesw in admitting
that humans have roots and cannot live without them- If is an act of comjbrt, reminding us that we
are not victims of the present moment, having comefrom nowhere and with nowhere to go -for where
there is knowledge ofyesterdoys, there can be hope for tomorrow.'"

The act of conducting this research has Pad less to do with professional or academic realities, and more
to do with cultural reality. This work defines (at least in part) who I am as a person. I have engaged in
this process with abandon and with a deep joy for having come to this point in my life.
 Page -137-
BIBLIOGRAPHY
(no asterisk indicates reference in English only,
* indicates English and U d n h in same document,
** indicates ltnilinmUlcrainiantextreference)
Articles and Theses
Chafe, Maureen- (1996) The CoUection and Documentation ofFolk Son? Traditions in Flew I)lv Lys,
J+Jewfoundland,Masters thesis, The University of Calgary.

Favreau, Sharon. (1985) An Analvtical Study for PedagQgical Purposes of French Canadian Fol)C
Sows as Collected bv Marim Barbeau, Masters Thesis, The University of Calgary,.

Gardner, Howard. (1994) The Arts Propell Approach to Education in the Arts, Kodaly Envoy, Vol.
XX,No.2, Winter.

-
Hawthorne, Shannon. (1997) Songs in General Music Classes Any Changes in Twenty Years?,
,v- Vol. 11, No. 1, Fall.

Huang, Hao. (1997) Music Appreciation Class Broadening Perspectives, Music Educators Journal,
September.

Izzo, Luisa Alexander. (1985) Spanish-Lanqge Songs for teach in^ Music: An Anahtical Studv.
Masters thesis, The University of Calgary.

Lys'ko, Zenoviy. (1970) Folk Music, Ukraine: A Concise Encvcl

Kubiyovyc, University of Toronto Press, Toronto.

Okhovslq, A Musicology, M i n e : A Concise Encvclopedia VoI.II, Volodyrnyr Kubijovyc,

University ofToronto Press, Toronto, 1971.
 Page -138-

Petrov V. Oral Literature of the People, Ukraine: A Concise Fnclopaedig VoL I Volodymyr
Kubijovyc, University of Toronto Press, Toronto, 1970.

Reimer, Bennet. (1994) Music as Cognitive: A New Horizon for Music Education, Rodalv Envov*
Vol. XX, No. 3, Spring.

Swyripa, Frances. (1984) Canada, _EncvcloDedia, Vol. I Ed. Volodymyr Kobijovyc,

University of Toronto Press, Toronto.

Swyripa, Frances. (1985) Ukrainians, The Canadian Encvdooedia, Vol. ID,Hurtig Publishers Ltd.,
Edmonton.

Books
AbIes, H. F., Hoffer, C. R,and Klotman, T. (1984) Foundations o f Music Education, Schirmer
Rnntc- N
-.--*-. - --
e w Yo&,

Alberta Education, (I 980) The Ukrainian Music P r o m Guide - The P r o m for the Teaching of
Music in the Ukrainian Bilinml Schools. Grades 1-3 .**

AIberta Education, (1 989) E E e , Edmonton,.

A p x n ~ o sn.,
~ ~Kapwesa,
, o.,(1964) H~DHCH
T., W e m p , T-, U&€~-TK~WHKO, 3 ICTOD~

Y K D ~ ~ H CMVBHKH,
~ K O ~ TOM.I, MHCT~QTBO, [Arkhirnovich, L.,Karisheva,T., Sheffer,
Knie, Y~pa'i~a.
-. ..
T, Shreier-Tlcachenko, O., (1 964) Nar_vsv z Istoru Ulcranns'koi Muziki, Volume 1, Mistetstvo
Publishers, Kiev,UIaraine.] **

Bjorkvold, Jon-Roar, (1 992) (translated Eom the Norwegian by William H. Halverson), The Muse
Within: Creativitv and Communication. S o w and PIav &om Childhood Throueh Matwk
HarperCollins Publishers Inc.: New York
 Page -139-

Bruner, Jerome (1996) The Culture of Educatioq, Hmard University Press: Cambridge,
Massachusetts.

-
Campbell, Patricia Shehan, (1996) Music in Cultural Context Eieht Views on World Music
Education, Music Educator's National Conference: Reston, VA..

Chernowski, Kay. ed., (1977), Methods and Materials-Guide for Teachers of Early C h i l d h d
Pro-ms, Ukrajnian Bilingual Program Guide, Edmonton hblic School Board.**

Choksy, L.,Abrarnson, R, Gillespie, A., Woods, D.(1986) Teachine Music in the Twentieth Century,
Englewood Cliffs: Prentice-Hall.

Rpocnas.
~ Y M ~ K , K ~ M F I , no6pa K H H- TOPOHTO.
(1977) Y K D ~ S H C~ O~UKJ ~ ~ ~ [Chumak, Yaroslav.
-.,The Good Book:Toronto.]**
(1 977) Ukrains'ke Roshlulh~

Droz, R and M.Rahmy, (1976) understand in^ Piaeef, International Universities Press Inc., New
York.

Eisner, Elliot (1 991) The Enlightened Eye, MacMillan: New York.

Elliot, David L(1995) M o d University

Press: Oxford.

Gardner, Howard (1993), Multiple Intellieences - The Theory in Practice, Basic Books, H e o h
Publishers, Inc.: New York.

r o p ~ iM.~ M.~ , ~ ,
(1989) ~ C T O ~Y~KR ~ ~~HC
MY~HKH
~ K O 'TOM.
~ I Bi& H&i~aB~illl~x
WCOB L10

Aym~a:KM~B,
CepeAHHH XIX CT.. Hay~06a [Gordiichuk,
Y~pai~ a M. M. ( 1989) btoriia
. . ..
Jbfuziki Tom. I Vid Naidavrushkh shasiv do seredm Naukova Dumka: Kiev, Ukraka.]**
 Page -140-

Herndon, Marcia & McLeod, Norma, (1979) Music as Culture, Nonvood Editions: Norwood, Pa. .

~ P ~ H ~ ~Mwona,
H K O ,(1961) ~ K O ' ~ Y K P ~ T H C ~M
Y K D ~ ~ H CMY~HKH,
~CTOP~R KYH~
~ H Y IHCTHTYT,
H H ~ ~ HI0
. c h e n k o , Mikola, (1961) Istoriia Lka'inskoi
h p ~m I Mu&, Ulrraiins'kii Muzichnii Institut, New
York.]

HIynka, I. ( 1981) me Other Canadians - Selected Articles fiom the Column '?van Harmata"
Published in the '"UkrainianVoice", Trident Press Ltd: Winnipeg.

IgnatieE, Michael (1 984),

beinp hums Penguin Books USA Inc.: New York.

A., (1991) YKpa'iHcb~aMv3ur~aH ~ ~ O Teo~qicra,

IB~HHTC~KH$, ~ H R M y 3 ~ r YKpa'iHa:
~a K~ie.
[ivads'kij, A., (1991) U'kraiinslca Muzichna Narodna Tvorchist'. Muzichna Ukraii~:Kiev.**

Keywan, Zonia., (1 977) Greater than Kings. Ukrainian Pioneer Settlement in Canada, Harvest House,
Montreal.

Kodaly, Zoltan, (1974) The Selected Writhes of Zoltan Kodalv, Corvina Press: Budapest.

C, (f 964) Y K P ~ ~ H CD ~~ KVKHH~ ~
KW~HMHHK, DO~A H ~3BHr(aRX
X 8 ~CTODHYHOMVO C B ~ T ~ ~ TOM
H H ~Ilep~lHfi
,

( ~ H M O B MUHIVIL)
~~ Y K ~ ~ ~ HHaqionanbnnR BinninetlToponro. ~~~YmXlyk,
C ~ K U ~ Bn,qasnnqnA KOM~TBT,
S., (1 964) Ukraiinskii rik u NarodniWl zvichaiakh v istorychomu osvitlenni. Tompershii (Zimovii
tsikl) Ukrai'm'kiiHatsional'nii VidaMichii Komitet, Winnipeg,Toronto,]**
 Page -141-

KHIIHMHHK, C. (1963) Y K D ~ ~ cD ~~ KK H ~ ~ 3BHrl-X

V H~DOPH~X B ~CTOPHVHOMV O C B ~ T ~ ~ ~TOM~ ', F ~ T H G
HH~

( O C ~ HQHH~K~~ Y
~ )K ~ ~ ~ H CH~aK
~ iH
OGH a A b ~ H~f H
i KO
L \ ~ H H W BT~, H H ~ C ~ ~ ~ ' / TPykjTlXlyk,
I ~M ~ T ~ O~~HTO.
S., (1 963) Ukraiinslcii rik u Narodnikh Nichaiakh v istorychnomu osvitlenni,Tom p'iatii (Osinnii tsikl)
Ukraiins'kii Hatsional'nii Vidavnichii Komitet, Winnipeg, Toronto.]**

Klymasz, Robert B., (1989) Selected Articles, 1963-88, Canadian Museum of Civilization: Ottawa-
Hull.

Kodaly, Zoltaa (1974) The Selected Writin@ of Zoltan Kodaly, trans.Lili Halapy and Fred MacNicoL
Corvina Press: Budapest.

Leach, R-,and Palmer, R. (1978) Folk Music in School, Cambridge University Ress: Cambridge.

Luciuk, Lubomyr., Sydoruk, Borys., (1997) 'InMy Charge" The Canadian Internment Camp
Photomphs of Sameant William Buck Kashtan Press, Kingston, Ontario.

m c and Medicine of Plants,(l99O) The Reader's Digest Association, Inc.: Pleasantville, New York

McCarthy, Cameron (1998) The Uses of Culture - Education and the Limits of Ethnic Attiliation,
Routledge: New York
 Page -142-

Merriam, Alan P-,(1967)(1976) ofMusk,.

Nettl, B m o . (1985)
Schirmer Books: New York

Nettl, Bruno & Bohlman, V. Philip. Editors, (1991) comparative MusicoIw

-p~Io-f
Music - Essays on the History of Ethonomusicolow, The UniverStj ofChicago Press: Chicago.

Netti, Bruno.(i 964) Theory and Method in Ethnomusicoloqy, The Fress Press of Glencoe, Collier-
Macmillan Limited, London,

.-
Onyshkevych, Larissa M. L- Z., (1 995) How to Hold a Traditional Ulcraman Weddine in the New
World, Plast Ukrainian Youth Association, New York *
. -
Petryshyn, J. (1985) Peasants in a Promised Land: ~ a n a d aand the v~inians r nn-
I - .n*
1 1 Y I 4,i
4
ok~e~,
Toronto,.

Piniuta, Harry.(1978) Land of Pain Land of Promise. First Person Accounts by Ukrauu'an Pione e s
-
189 1 19 14, Western Producer Prairie Books, Saskatoon,

~ ~ ~ ~ 4 b K bAHT~H.
l f i , (1963) Y K D ~ T H CM~ V
K~~ H- K
ICTOPHYHHA
~ K D H T H ~ HHWUC,
H~ A~inposaXBH~R,
mudnitskii, Antin. (1963) Ukraiins'ka Muzika Istorichnii Kritichnii Naris. Geschichte Der
MDHX~H.
W i s c h e n Musik, Dniprowa Chwyla, Munich.] **

Soroker, Yakov.(1995) Uhainian Musical Elements in Classical M u s i ~Canadian Institute of

..
UIcranuan Studies k s s , Edmonton.
 Page -143-
Subtehy, Orest. (1 988) University of Toronto Press, Toronto.

Titon, Jeff Todd,& Slobin, Mark. (1 984) Worlds of Music - An Introduction to the Music ofthe
World's P e o ~ Schinner
k Books, New York

HBDHC. TOM.I H ~ D O P H ~ O -
Boponai4, One~ca.(1958) 3e~rtaiHaruoro Haponv ETimr~aCbirl~~fi
~ a n e ~ n a~~E Hn' iI ~ T- Y~pai~cb
BHABBH~~TBO.
~e MDHXBH.Woropai, @!&a, (1958) Zvichaii
pashoho narodu Etnohrafichnii naris. Tom. I Narodn'o-kaIendami zvichaii - Zima. Ukraih'ke
Vidavnitstvo, Munich, **

HaDHC. TOM.11 Hamn~bo-

Bopon&, OfleKca. (1966) 36Hw'i HUOrO H;ioonV ETHOT&~~(HH~
a ~ ~-ifli~o, Y~paT~cb~e
~ a n e ~ n3swai BHA~BHHU~BO, [Worropai,Oleksa, (1966)
MIOHX~H.
n hh n E -
michaii L-to, U d i n s ' k e
Vidavnitstvo, Munich. **

Folk Song Cokctions

Boshkoff, Ruth. and Sorenson, Kathy (1 995) The OAKE CoIlection - MulticuItural Songs. Games,
and Dances, The Organization of American KodaIy Educators: Fargo, North Dakota.

Foty, Yurko. (1 977) Let's S& Out in Ukrainian, Vol, I, Saskatoon:Canuk Publications.*

r~ar~runti,
A.. 3apeew, 6.(pi~neo3narce~n~ii) ~ H H Cypua: HIO h p ~ mtyshyn,
H ~ w ~ nic~q, . A.
. . .
& Zarevych, B .,(no date) Narocb P~smkSurma: New Yo&.]**

2
1 ,
(1972) New York, Sunna.**
 Page -144-
Johnston, Richard (1984) FDU(E.C. Ket-byLtd.:Toronto.

3e~08ifi.
~HC~KO , (1967) -n~i MemniT,To~.I flOKa3tIbltC~, Y K ~ ~ ? HBinb~a
C~K~
hay^ y CUIA. HIO h p ~[Lis'ko,
k n e ~ i n .
.*
Zenovii.( 1967) Ukraunsla Nar&
. ' Melodii. Tom 1
Pokazniki, Ukraiinska Vil'na Akademiia Nauk u SSHA, New York] *

3e~oeik.
~~HC~K O, (1966) C ~ K ~ MemnK,To~.111 (Meno~ii1251-2482), YKpayHcb~a
Y K D ~ ' ~ HHaDoa~i
~ ~ YyKCUIA. Hlo k p l c . [Lis'ko, Zenovii.( 1966) Ukraiins'ki Narodni Melodii. Tom 111
h w e w iH
6hb~a
JMelodii1251-2482), Ukraiins'kaVil'na Akademiia Nauk u SSHA, New York.] "

~ ,~
~MC~KO H o B (1968) C ~ K ~MenonK,To~.IV (Menonii 2483-3734), YKPTHC~K~
~ A . Y K D ~ ~ HHa~0f'l~I'
R y CUA, HIO kplc.
BifIb~aA K W ~ M ~Haylc [Lisko,Zenovii.( 1968) Ukrahw'ki Narodni Melodii Tom
(Melodii 2483-3734), UEcraiins'ka Vil'na Akademiia Nauk u SSHA, New York] **

~ ~,
~HC~KO H O B ~ (1970)
A. Y K D ~ ' ~ HHC~~w
KL V ( M e n o ~ i 3735-5083).
~ MemniT,To~.
~H~ i Y K ~ ~ H C ~ K ~
Binb~aAKqeuin hay^ y CUIA, HK)h p ~Kisko,
.
.. -
Zenovii.( 1970) Ukra~msloNarodni Melodtt. Tom
..
V Melodii 3735-5083>,UkraiinslcaVil'na Akademiia Nauk u SSHA, New Yorkj **

3 e ~ o s i k(1971) Y K D B ~ H CHamn~i
JIHC~KO, ~ K ~ Menoniii,Tow- VI ( M e m ~ i5084-6437),
i BHA~BHHYTBO
iu. M. fl. KO& m e p ~CHT~.
i
.. ..
Lis'ko,Zenovii(l971) U'kraullslciNarodni Melodu. Tom VI (Melodu ..
 Page -145-
3084-6437), M. P.Kots Publishing Co. Jersey City, N, J.] **

~ H C ~ K3e~osik.
O, C ~ K ~ M ~ ~ A E , T O VII
(1981) Y K D ~ ~ HHammi M . (Meno~ii
6438-7716), Y U ~ H C ~ K ~
B i n b ~ a/ k a , a e ~ i hay^
~ ~ P Kpisto,
B K a ~T aiCWA. TO~OHTOMKI . Zenovii. (1981) U)cra~msk
.. -
..
Melodii. Tom Vn Meld11 6438-771 61Ukraiim'ka Vil'na Akademiia Nauk u Kanadi ta
USA, Toronto/New York] **

C ~ K ~ Menonii,To~.Vlll (Menoaii 7717-9077), Y K @ H C ~ K ~

flHCb~0,HOB^^. (1986) Y K D ~ ' ~ HHapon~i
..
i knp r &is?co, Zenovii.( 1986) UballnS'ki
BinbHa k\ltapeMifIt i a y ~6 Kanwi Ta C!llA. T o p o ~ ~ o M

-
Narodni Melodii. Tom Vm (Melodii 7717-90771 Ulcraiinslca V i i Akademiia Nauk u Kanadi ta
USA, TorontolNew York] **

iX (Memnii 9078-10333), Y~paiucbua

Ilwcb~o,3e~oeiii.(1991) Y K D ~ T H CH~aKp~o ~ lMenonKdTo~.
~i
Binbna IbGue~ifIhay^ B K a n u i ~a CUM, Toponro/I-l~,M ~ K . Zenovii.(l991)
&isko,
*.
Narsdni-&J.elodu-Tom IX (Meldii 9078-t 03332 Ukraiins'ka Vil'na Akademiia Nauk u Kanadi ta
USA, TorontohJew York.] **

3e~osih.
~~HC~K O, (1994) Y u ~ a i n c b kkmon~i
~i Menonii,To~.X (Memaii 10334-11447), Y~pa'iHcb~a
h p u . &is'ko, Zenovii.(l994) b l m s l d
BiflbHa kapeub Hayu B K w ~Tai CWA, TO~QHTOHD
..
Narodni Melodii. Tom X Melodii 10334-1 1447L Ulnaiins'ka Vil'na Akademiia Nauk u Kanadi ta
USA, Toronto/New York] **

Magus, Helene.. (Editor) (circa 1980)Svitanok- Ukrainian Songbook for Children, Ukrainian Bilingual
Association, Edmonton, Alberta.**

Manulak, Walter,(1974) Ukraimian Son= Winnipeg: Curriculum Branch, Department ofEducation,

Manitoba.*

Paush, Peter A.(l967) u s for Children, Edmonton.**

 Page -146-
Wawriniuk, Eugene,(1974) Songs for Children, Winnipeg: Council ofUkmbh Schools ofthe
..
Lhaman Greek Orthodox Church of Canada**
 fage -147-

APPENDIX

Contents:
Appendix A: Consent form, (sample)
Appendix B : Questionnaire, (sample)
Appendix C: Part I: Comprehensive Music Analysis
Part II: Analysis for Genre
Part m: Analysis and Comparison for Variants
Appendix D: The Folksongs.

The collection is made usehl and accessible with the inclusion of indices. The songs are
indexed in a variety of ways. They serve as a guide to the details analysed in this study. The most
pertinent elements of the song analysis are presented on the page with the music.
The text ccomponent also on the page: includes the original language of the song - Ulrrainian,
English translation, as well as a form of English tramtiteration easily understood by English readers. In
addressing issues of orthography, several things should be noted. The songs have been transliterated so
as to make the document accessible to the English reader. Should fiture interest arise, readers are
advised to refer to the Ukrainian titles in the original language. Second, it should be noted that due to
peculiarities associated with the Music Time Deluxe Computer Program, certain orthographical
inaccuracies have arisen. In places where the Ukrainian language uses two words on one sytlable, they
are sometimes printed as one. For example, B xa~i,B oqi, TH x MeHe wiU all appear in the document as
..
sxa-~i,804,TMX Metie. Apologies to Ukrarman readers.
The songs also include brief cultural notes, and cross-referencing to recognized and
authoritative documents regarding the folklore and the music. At a glance one can see the most salient
features of the song so that the pedagogic selection process is quick and beneficial.
No tempo or dynamics have been given. The reader will recognize that the potential use of the
song selection will dictate the appropriate qualities.
Page 448-
 Page -149-

Appendix A: Consent Form (sample)

UNIVERSITY OF CALGARY CONSENT FORM
RESEARCH PROJECT TITLE: THE COLLECTION OF UKRAINIAN FOLK SONGS
IN EDMONTON, ALBERTA,CANADA, JULY 1997.
INVESTIGATOR: ANNA-MARIE (MARUSIA) (KRYSCEUK) KOSZARYCZ

This consent form, a copy of which has been given to you, is part ofthe process of informed consent It
should give you the basic idea of what the research is about and what your participation will involve. If
you would Like more detail about something mentioned, or information not included here, please ask.
Please take time to read this form carefiUy and to understand any accompanying information

The purpose of the project is to collect UIaraiinan folksongs sung by descendants of Ukrainian Canadian
pioneers who either live in, or the vicinity of Edmonton, Alberta, Canada during July/1997.

-c. -*1 1
I ne product wul oe ii C -
l1-&--
O -ET n
U C ~ ~ut V-&~:--~
~ urucluuwA ..--,- --
Ivuwv..ed nrhich ntp qimif?mnt to he
C-lLwwwvc -population
of Ukrainian Canadians living in the Edmonton area As a result of the collection of these Ukrainian
folk songs, school music programs in either English language schools or Ukrainian language schools
may have a more informed image of the cuIturaI and linguistic reality of Ukrainian folk songs sung in
Western Canada. This may result in the inclusion of these songs within music, culture and Linguistic
..
curricula which affect specifically the LJhmmlinguistic group, as well a s Canada's multilingd and
multicultural social community.

Individuals who have an interest in maintaining the Ukrainian linguistic and folk song traditions in their
personal life will be selected for participation in the study. Preference will be given to individuals who
have a direct and personal knowledge of the immigration generation,i.e.personally knew their
grandparents, great-grandparents, and the reality of their s h t i o n as immigrants.

The procedure will consist of a formally structured interview conducted m a home, or home-like
environment. A quality audio/visualrecording system will be employed. Participation in the research
will involve up to four periods of one and one quarter hour discussions. Ifthe subject(s) request, the
 Page -150-
interview will be immediate& terminated. The option of spending more time responding to the
research questions will be given to the subjects.

AU research data will be stored on audio-visual cassette, transcribed and used by the investigator in the
writing of this Research Project. Upon completion and defense of the Master's Thesis, the physical
cassettes will be deposited in the Special Collections section of the University ofCalgary Library. AU
credit for the folksongs will be given to the subjects b m whom they were collected, the date, location
and other pertinent data. Any research subjects quoted directky or indirectly will be credited
appropriately. Access to the data will be given to researchers in Folk Song, the subjects and their
families, and responsible individuals or institutions conducting research into tkmhiam m Canada.

Your signature on this form indicates that you have understood to your satisfaction the infoxmation
regarding participation in the research project and agree to participate as a subject. In no way does this
waive your legal rights nor release the investigators, sponsors, or involved institutions ftom their legal
pi~fcsskii~ s ~ ~ s ~ ~YQC c free
t izre r . to withdraw fiom the study at any time. Your continued
participation should be as informed as your initial consent, so you should feel h e to ask for
clarification or new information throughout your particpation. If you have M e r questions conceming
matters related to this research, please contact:
Professor Lois Choksy/Head of Department
Department of Music/Facuky 0fFi.e Arts
University of Calgary (403) 220-5376
If you have any questions concerning your participation in this project, you may also contact the Office
of the Vice-president (Research) and ask for Karen McDermid, (403) 220-338 1.

Participant Date

InvestigatorlWitwss (optional) Date

 Page -151-

Appendix B: Questionnaire (sample)

QUESTIONNAIRE:
It may be necessary for the researcher to phrase these questions in Ukrainian. The questions may
therefore not be quoted in the exact verbiage, but will be modified to meet the needs of the interview.

Where in Ukraine are your direct ancestors, parents, grandparents, etc, h m ?

Why did they leave to come to Canada?
How, and when did they come to Canada?
What kind of group did your £ i d l ymember travel with?
Where did they plan to settle?
What kind of community life did your family member have in the new situation?
How far removed in time and location are you from the original immigrants?
What, if any recollection of they do you have?
Do you recall any folksongs which link you directly with the immigrant generation?
Sing them. What do these songs mean to you?
Do you recall how you came to know these songs?
Did you ever belong to a social, c u h a l , religious, or other group m which you sang folksongs?
Sing them. What do these songs mean to you?
Do you recall how you came to h o w them?
Have you sung folksongs in your recent recollection? Where? When? With whom? What were they
about? Why did you sing? What was the occasion? Sing them.
What do these songs mean to you?
Do you recall how you came to know them?
Do you know any songs which either tell about the seasons or chores/acrivities you do at various times
of the year?
Do you know any songs traditionally sung at marriages, wedding parties or anniversaries?
Do you recall the melodies, words, or actions to any children's songs?
Do you h o w any historical or patriotic songs?
Are there any songs which your f d y considers important to their home/personal life?
Are there any songs that you can sing which are associated with dancing or partying?
 Page -152-
Can you sing any funny songs?
Are you f e with any religious or spirituai songs?
Are any songs particularly related to your famity's traditional workplace (i.e. fanning, bee keeping,
sewing, carpentry, sheep m g , gardening, etc.)?
Ifthere a ~ any
e songs which you consider inappropriate to sing in public, could you explain their
significance?
Are there any songs which you connect directly with a h d y tragedy?
Can you draw any conciusions about how folksongs have changed since the earliest immigration,or
have they? How? Why?
 Page -153-
Appendix C: Part I:
COMPREHENSIVE MUSIC ANALYSIS

Z~IB-S~ ModeMeter Rhythm set

s,lt,d r rn f s 1 ionian 618 JJP

s,l,t,d r m f s ionian 4/4 ,dl)

ionian(n0 Ia)9/8 JP

do pentachord (ti) 414 1)

kt pentachord 4/4 d A)

ionian 414,314,214 J b.

do hexachord 414 JPP

ionian(n0 la) 4/4

ionian(n0 la) 4/4,3/4 J )

 Page -154-

#I 1 s,d r ri m f s 1 do hexachord (ri) 414 JJJP

#12 f drmf do pentachord 414 dJJP

BO8bi@ne€~i HOBWHa
HHH~ #13 s,drmfsI dohexachord4/4 !J9

B c~paciis no~opi #14 d r m f s l t d f ionian414 JJJB

Bwpa Mama B ~ 0 p 36yna

i #15 s,ltdrm la pentachord (s,) 6/4 Jb

reh TaM Ha ropi Ciq iae #16 s,lt,drmfsl ionian 4/4 JAPP

ropina Ci nanana #17 m, I t d r m f s I' aeolian4/4 Jfi

Ae A~inpoHaw #18 ltdrmfsIf aeolian414 JJJP

Ae s r o ~ aB ~ A H H ~ #19 s, d rrn f s I t d' ionian 12/8 lib

A i e ~ a0 C ~ H R XCTORna #20 d,r,m,f,s,l,t,dd ionian 414 dJB

flo6p~k=rip naHe #21 l t d r r i m turkishphrygh414 JP

XHTO
MaTH, XHTO Maw #22 (d r)m f s 1 t d' ionian 2/4
 Page -155-

#23 d r m f s I d' do hexachord 2/4 JPP

#24 drmfsl do hexachord 4/4 Jb

# X I t d r r i m f s i l f d1aeoIian(riandsi)4/4!.h)b

drmfsl do hexachord 2/4,3/4 JJhb

m,f;s,W r ionian 4/4 !P

s,t,d r m f s ionian(no la) 9/8 JP

s,lt,d r m f s ionian 4/4 !P

~ d r m f s l ionian 4/4,2/4 JP

m,ltdrmf la hexatonic 4/4 JAPP

.
drmfsl do hexachord 4/4 d1JM

Itdrmf la hexachord 4/4 JP

t,drmfs1 ionian 214 dlJP

 Page - 156-

s,I t d r m f aeolian l2/8

d r m f s i t d ' ionian 414

s,fdrmfsl ionian 1218 l!d

s,&dr m f s 1 ionian 414 IJP

d r m f s 1 d' do hexachord 6/8 JP

s,l t,d di r m f s ionian(d9 6/8 !J )

(d r ) m f s 1 do hexachord 4/4 d!PP

r,m,f,&s,l,t,d r ionian(fi) 12/8 JJP.4

ltdrmfsl' aeolian4/4 JPP

d r m f s I t d' ionian 414 JP

s,lt,d r m f s l' ioniau 12/8 lib)

drmfsl do hexachord 4/4

 Page -157-

He UYMH niuntio #47 m, 1 t d r m f s I' aeolian 414 Jb

OR ;~ec ~ a i n a , CFI
~ enoaina #48 s,l t d r m f aeolian 4/4,3/4 JJP

r,m,f,s,l,t,d r ionian 314 JJJP

s,l t d r m la pentachord (s,) 6/4 JJ'

d r rn f s 1ta d' mixolydian 4/4,5/4 J! JPP

d r m f s l t d ' ionian 314 IJPP

d r m f s 1t d' ionian 4/4 JP

s,l t d r m f s a e o b 718 !P

m, 1t d r rn la pentachord 314 dJ

d rm fs 1 do hexachord 414 JP

1tdrmfs aeolian414 JPB

#58 si, 1t d r m f s harmonic minor 4/4 JhPP

 Page -158-

#59 m,f;s,l r d r m f aeolian 4/4 lJPb

#60 d r m f s I ta d' mixolydian 2/4 JP

#6 1 s,d r m f s I d' do hexachord 4/4 JP

#62drmfsltdr' ionian 4/4 lJPP

#64 d r m f s I ta d' mixolydian 4/4,3/4,2/4 JJP

#65 drmfsl do hexachord 4/4 JP

#66 rn,s,i t d r m f s a e o * h 31% 1 1 11

dddd

#67 m,f,s,l,t,d di re m f s 1 ionian 2/4 A ))

#68 d rmfs1 do hexachord 614,414 d !)

#69 s,d r m f s I do hexachord 314 dl

#70 drmfsl do hexachord 4/4 JJP

~ iy noni
i WH KpwweHbKH #71 m,~t d r m f s I aeolian U4,3/4,414 JJP
 Page -1 59-

OG XTO XOW 3HaTw #72 s,hd r m f ionian(n0 ia)4/4 JP

Oii wl TO 3 BOI-Hi0 #73 drmfsl do hexachord 3/4,4/4 dJP

Oii,wpHa, R CH w p ~ a #74 s,d r m f s do pentachord 4/4 JJJ'

Oii FIK T ~acsi~i

~ M #75 drmfsl do hexachord 4/4 JJP

0 Y K ~ ~ ~0Hnm6a
O , HeHbKO #76 s,(d) t m f s I do hexachord 4/4 ,d?JJ'

Ox, en x MOT n ~ p ~ r w #77 s,tdrmf ionian(n0 la) 4/4 JP

0 XT0,XTO M H K O ~nlo6wrb?
~R #78 t, d r rn do tetrachord 4/4 dJ P

niwos aia H a ~ P M ~ H #79 s,drmfs do pentachord 4/4 iP

ilosim sirep c~enoswtr #80 s,l,t,d r m f ionian 4/4 dd?JP

f7o;ixana 6a6a s nic #81 s,I,t,d r m ionian(n0 fa) 4/4 !P

n o TO^ 6 i ropa
~ #82 m,f,s,I,t,d r m f ionian 314 ddl

170 u i n i ceiri,no
~ ~ i nc i~ ~h i #83 drm fs1 do hexachord 6/8
 Page -160-

nnme, nnme c ~ s nlopue

e #84 1 r d r ri m turkish phrygian 214 diJhbh

~ n~8epslx
n p ~ f i 40 ~ #86 Itdrrnf la hexachord 614 J J1

f l p 0 ~ ~ A~B'IMHO
cb 3~0600 #87 r m f s 1t d r' rn' i0nkt.n 414 d A JP

P a c b ~ nepeeue,
e paiicb~e #88 SJ t d r m pentachord (s,) 6/4 JP.

Pese T E cTorHe
~ A~inp #89 1 t d r rn f s l' t' d' aeolian 6/8 1JP

POCTM,F T H WpeMUIHHO #9 1 S, drmf do pentachord 414 ,d d !!P

CB~TH
M~CF~W
H~C( #92 s,t,drmfsl i o n h 2/4,3/4 dl!)

Cornac~oc n i m h o #94 drmfsl do hexachord 4/4 JM

ni~ae
Co~ono ~ #95 m f s i t d r ' m t i ? ionian 414 d 1JB
 Page -161-

C T O ' ~nsip
~ HaA B O ~ O K ) #96 m s i ~
t d r m harmonic minor (no fa) 4/4 !A h 8

T ~ ~a
M ropi ~ p y t wxa
a #97 s,d r m f s 1 do hexachord 2/4,3/4,4/4 11)b,

Tau ~a ropi c ~ i 6r i n e ~ b ~ ~ t #98

1 s,tt d r m f ionian 3/4 JlJPP

B niti c$ap~epys
aap~ep #I03 d r m f s I d' do hexachord 414 Jebb

XPMCTOC
Boc~pec! #I04 s, d r m f s I do hexachord 2/4,3/4,4/4 Jb.

Uei~e
sepen, q e i ~ eTepeH #I05 I t d r rn f s aeolian 314 ddJ

Ilepao~a
poxa rpoma #I06 m,l t d r m f la hexattonic 414 A!)

C(OM, '(OM, WM 3e~ne

MOR? #I07 (d) r rn f s i ionian 2/4 JJJPP
 Page -162-

YOMY LIP)OKKH~e cni~amn? #I08 d r m f s I do hexachord 4/4 JP

q o p ~owa,
i w p ~oiw a #I09 s , & d r m f s l ionian 2/4 JJBP

U H ~B~HOC(K~,
R UIH~X~ #I10 s,ltdrrn ki pentachord (s,) 6/4 J )

Rrin, Flrinort~a #I12 m,si,l t d r ri m tyrkish phrygian9/8 Jf,

RK ~ ~ C F ~6parr~1
C Z ~ M #I13 s,l,t,drrnfs1 ionian 414 AJJ'

C~pwu~anesa
rap~aj

RK ~UOB~ 1 ne6pecrw~a
3 #I14 s,t,drrnfsl ionian 4/4 JlJP

IJP
 Page -163-
Appendix C: Part I]I:
MUSIC ANALYSIS FOR GENRE
I. RITUAL SONGS A. Christmas Season S o w s

6or npe@.r~nCiH ~ ~ A H B C R ! s,~,t,dr m f s ionian 4/4 JJP

B B ~ @ n e eBO~ K)aei
i ' m,ltdr k pentachord 414 J)

B Bw@nee~i
HOBHHa s&d r m f ionian 4/4,3/4,2/4 1 J f)

Beceno cniwho drmfsl do hexachord 4/4 Up.

80 B ~ Q f l e s H~Hi H ~HOBHHa s, d r rn f s 1 do hexachord 414 1Jb

Ha ~ e 6aims
i r,m,f,fi,s,l,t,d r ionian(fi) 1218 UPP

no u i n i ~cei~i,nou i n i ~
CB~T~ d rmfs 1 do hexachord 6/8 LAP

Cornac~ocnimuo drmfsl do hexachord 4/4 JM

I. RITUAL SONGS B. Winter song.

- ~Ivasannva -
no~ a e e p ~ x
rlp~fiwn #86 Itdrmf la hexachord 6/4 AJP

I. RITUAL SONGS C. S ~ r i Sno~w s

6ara~o
COHUR BCK)AH #I s,l,t,drmfsIionian 6/8
 Page -164-

# I 1 2 m,si,l t d r ri m tyrkish phrygian 918 Jh

I. RITUAL SONGS D. Weddin? Son=

B ~ C ~ MCHRn o w ~ a e #9 s,t,d r rm f s ionian(no la) 4/4 JJ

Bwpa Mmra B TOP& 6yna #15 s,l t d r rn la pentachord (s,) 6/4 J )

406pnF1eerip nme #21 1 t d r ri m turkish phrygian 414 JP

3arpak ~ettiM Y ~ W W H ~ K Y #24 drmfsl do hexachord 4/4 A)

Kono MOT xam #33 Itdrmf la hexachord 4/4 !!"

Ha u ~ p o ~ pi i i ~ ~ i #43 1 t d r m f s 1' aeolian 414 JPh

He marc, ~e nnaq ~ o n o a e ~ b ~a
#46 d rm fs1 do hexachotd 4/4 Jb

ORne cclaina,ae CR no~ina #48 s,l t d r m f aeolian 414,3/4 JJP

 Page -165-

s,ltdrm la pentachord (s,)6/4 J)

drrnfsltad' mixolydian 4/4,5/4 J >P

m,Itdrm la pentachord 314 ./
drmfsl do hexachord 4 4 JP

drmfsl do hexachord 4/4 JP

drrnfsl do hexachord 6/4,4/4 d ,)

drmfsl do hexachord 3/4,4/4 jj)

s,l t d r m la pentachord (s,) 6/4 1b.

drmfsl do hexachord 4/4 JP

la pentachord (s,) 6/4 OJ )

 Page -166-
H I HISTORICAL SONGS Historical-of. or about Cossacks/Patriotic Soaps/Wartime
Tek T ~a ropi Ciu iae
~ M #I6 s,l,&drmfsl ionian 4/4 J&.PP

Ae fi~inpoHU #18 Itdrmfsi' aeolian4/4 d lJP

K o m ei~i3axae #3 1 -I t d r m f la hexatonic 4/4 JAPP

Jle-rmbwptint4 open #34 t,d r m f s 1 ionian 2/4 Alp

0 Y~pa'iHo,o nm6a H ~ H ~ K O #76 s,(d) r m f s I do hexachord 414 ,dlJP

Tinwee. nnwe cwee nlopue #84 1 r d r ri m turkish phrygian 2/4 1J h a .b

n o e i s~i ~~e pc~enosni3#80 s,l,t,d r rn f ionian 4/4 dU!B

Pew ra c r o r ~ e
&inp #89 I t d r m f s l ' t ' d ' aeolian6/8 118

I H H Os,drmf
P O C T H , ~ O C ~ ~ ~ ~ ~ M U #91 do pentachord 4/4 d !] )

M ropi c ~ i 6r i f l e ~ b ~ ~ k
T ~ ~a #98 s , ~ dt r m f ionian 3/4 JJJM
 Page -167-

YOM, WM, WM 3 - eMOR?

~ ~ #I07 (d) r m f s 1 ionian 2/4 UJPP

F~K
3ac~n~
e ~~ ~ T T F I #I13 s , l & d r m f s i ionian 414 JJjh

(Kp~ur~anesa
ctap~a)

III. SONGS OF PERSONAL AND FAMILY LLFE/BALLADS

#2 s,fd r m f ionian(no la) 3/4 dJ

#4 s,t,d r m f s ionian(no la) 9/8 1)

# 10 s,&dr m f ionian(no la) 4/4,3/4 d J ,)

#11 s , d r r i m f s l dohexachord(ri)4/4 AJ!)

#20 d,r,m,f,s,l,t,dnnfionian 414 d!h

#2S Ltdrrimfsilt'd'aeolian(riandsi)4/4 &/,!b

#26 d rmfs1 do hexachord 2/4,3/4 J .?b.

#28 s,cd r m f s ionian(no la) 9/8 J)

#32 drrnfsl do hexachord 4/4 d1J)b

 Page -168-

Oti on^ x ff 6yna suana #52 d r m f s I t d' ionian 3/4 dl>)

Ok He xOAH ~PHUK) #58 si, 1 t d r m fs harmonic minor 414 J ). )b.

~ ~e
i iUJYMHny>~e #59 m,f,s,l r d r m f aeolian 4/4 J!Ph

Oii nin raeu, ram #60 d r m f s 1ta d' mixolydian 2/4 1)

Ok niay R AO M ~ H H ~ #62drmfsltdr' ionian 4/4 LJbb

Ok niny R w r o ~n, y r o ~ #64 d r m f s l ta d' mkolydian 4/4,3/4,2/4 b.

Oh nncln~~ ~ C O H ~ K M #66 m,s,I t d r m f s aeolian 314 dl!>

0fi T nia ropy

~ M #69 s,d r m f s 1 do hexachord 314 dl

Ok TH 1~03a~le #70 drrnfsl do hexachord 4/4 JJP

0 1 y noni r p KpHnwenbKH
~ #71 q l t d r m f s I' aeolian 2/4,3/4,414 J f,
 Page -169-

Oii m xove 3 ~ a m #72 s,f d r m f ionian(no la) 4/4

Ok, rcopHa, R cn wpHa #74 s,d r m f s do pentachord 414

no TO^ 6 i ropa
~ #82 m,f,s,l,t,d r m f ionian 314 J

e i r&
I l p ~ C i ~nopa #85 d r m f s I t d' ionian 4/4,2/4

nfJOu(alocb ~ ~ B W3H~0600
O #87 r m f s l t d r ' m ' ionian 414

Posnpfirafi~em n ~K Oi H ~ #90 m , l t d r m f s l ' aeoh4/4

CBi~blM ~ C R UH~~ Y #92 s,t,d r rn f s I ionian 2/4,3/4

CTOTT~sip HW WAOK, #96 m,si,l t d r m harmonic minor(no fa) 4/4 d iJ ,/? .)b.

C o ~ o n onine
~ #95 m f s l t d r ' m r f ionian 4/4 U P

T w Ha ropi Kpyra sexa #97 s,d r m fs 1 do hexachord 2/4,3/4,4/4 Jb. ./I

Y ropax KapnaTax #102s,drrnfsld' dohexachord4/4 J)

Uei~eTepeH, y~ireTepeH #lo5 Itdrmfs aeolian3/4 ddJ

 Page -1 70-

poxa r p o ~ l ~ a
qepeo~a #I06 ~ l t d r m f lahexatonic 4/4 JJP

UYMMT~
raCi 3 e n e ~ ~ f i #I11 s,drmfsZtdVionian 6/8,7/8 JJP

IV. CHILDREN'S SONGS AND LULLABIES

Children's Songs (Didactic/Storv/Mom!~
6ye pas co6i nycmR m n e 4 a #5 t,d r rn f s do pentachord 4/4 Jb.

Jlmye shep #35 s,l t d r rn f aeolian lZ8 !>

j"Im6n~B r a , Tara Ci M a y #36 d r m f s 1 t d' ionian 414

flio6nro ~1 my, nlo6nm B~TUH s,~,ci r m r" s i

CI I d t
ionian ~ L I O

#6 1 s,d r m f s I d' do hexachord 4/4 J>

#79 s, d r m f s do pentachord 414 J)

#99 s , l ~ dr m f ionian 414 JP

#I01 s,cd r rn f ionian(no la) 4/4 J)

#39 d r m f s I d' do hexachord 618 Jh

 Page -171-

V. SACRED/SPIRITUAL/SONGS OF THE ELDERS

B i r ( ~ naw~n T b #12 t,drrnf do pentachord 414

B c~paciis no~opi #14 d r m f s l t d ' ionian4/4

Ae arona B POAHH~ #19 s , d r m f s f t d ' ionianW8

Ha ~ ~ oni~a,
r i ni~a #41 (d r ) rn f s 1 do hexachord 414

0 mo,mo M w ~ o n an~l 0 6 ~ ~ b#78

? f drm do tetrachord 4/4

XPHCTOC
Boc~pec! #I04 s, d r m f s 1 do hexachord 2/4,3/4,4/4 d !)

V, SONGS IN DANCE RKYTHM - OFTEN HUMOROUS

m,cs,lfd r m ionian 414 JP

( d r ) r n f s l t d ionian 2/4 1))

d r m f s 1 d' do hexachord 2/4 JPj

s,l,~dr rn f s ionian 4/4 JP

t,d r m f s I ionian 4/4,2/4 Jb

s,t,d r m f s 1 ionian 4/4 dJ)

 Page -1 72-

Ha u o x R A~PHHRCFIX ~ H H B #45 s,t,t,d r m f s 1 ionian l2/8 JJPP

OG KyMe, KyMe #53 d r m f s l t d ' ionian 4/4 J.h

Ofi ~a ropi, ~a ropi #57 1tdrmfs aeob4/4 Jbb

Oh RK TW ~ac s i ~ i #75 drmfsl do bexachord 4/4 JJP

Ox, BM x M O n
~ ~ p o r ~ #77 s,t d r m f ionian(no la) 4/4 !4)

lloixana 6a6a s nic #81 s,l,&dr m ionian(n0 fa) 4/4 ]b.

B n i ~@ap~epye
aap~ep i #I03 d r m f s I d' do hexachord 414 JAM

RK ~UOBR 3 Ae6pewwa #I14 s , t , d r m f s l ionian 4/4 dJJl"

 Page -173-
Appendix C: Part m:
VARIANTS FOUND IN LYSKO COLLECTION -
SONG VARIANTS@losest matches are asterisked *1
AS W L L AS MELODIC AND LYRIC VARIANTS

F PS# VARIANTNUMBERS
60r n p e ~ ~ iHr~ P~~~H BkC R ! #3 #6883*,6884*,6885*,8750*,8762*
6 0 ~CR
dK O ~ ~~ H
T~ A W B #4 #8316*
text variant only #4085,5423,5424,5769
variant melody with new lyric #I0002
Beceno cnieaho, lcyca #8 #8525
B m i s KO= ~a ~ n w y #I 1 #6 I42
reCi T na ropi Cirl i
~ M ~ e #I6 #5738,5739
ropina k nanana n w i ~ cono~a
~ a #17 melodic variant with new lyric #SO 15,9035,
9208,9229
Aisua B C~HRXc ~ o q n a #20 #3052*,6022*,6023*,6024*,6025*,
6026*
XHTO
M ~ T HXWTO
, M~TM #22 lyrics and rhythms with new melody #3671
a y ~ a n 6a6ycetlb~a
a T& #23 #10007*,
lyric with new melody #8441,8273,8274
3 e n e ~ apyra,
~ 1 X O B T H ~4 s i ~ #25 #7624*, lyric with new melody #5906
I UIYMHT~,i ryae #27 #4288,4289,7875*,7876,
9247*, 9248*,9249*
KO- e i n h m a e a n i e w ~ nnaqe
a #3 1 Lyric with new melody #9694,9695,9696,
K~flOMflH~a~tBOpbl~a #32 #9568,9571,IMcwith new melody #5944
Kom M O xaTH
~ 3a~sina6 n a ~ a ~ ~ #33 #9208,melodic s h k i t i e s #9229
Mae R pa3 A ~ B W H O H
WflYPHeHbKY
~K~ #38 #6759
M ~ T cuHa
H uonHcana #39 #7405*,melodic variant with
new lyric #7563,2838,3307
Ha ~ e 6si i p ~ a #42 #9815*
 Page -174-
lyric similarities #6237, #8401
#5710*, 6140
lyric similarities #1714,3867,8298
#10346,10358*, 10350*
#381,10704*, 10733*, 10896'
melodic hgment #697, lyrics with new
melody #65 10, 826 1,8262,8263,
8264,8499,
#7698*, 7699*, 9064,9065*, 9 131,9173,
9175*, 9176,9177*, 9179,9539*, 9859*,
lyric variant with new melody #go 11,9 139,
9178,9180
#10755*, 1O756*,9146,8961
#6468,5483,2208,1607,2033,
>yTic -wp& ELel&y 9,
lyric variant with new melody #3 8OO,3 80 1,
5390,2209,1998, ,
lyric variant with new melody #7487,
343 1,6236,4241,
migrant verses in another melody #479 1
#10728,10661*
lyric variant with new melody #5 17,1087,
1709,1710,3822,
thematic/story variant #9257,9547
lyrics with new melody #6283
#4540,4541,4542,80 17,8068
highly ornate version which encases the
given version #6742,6743,
new lyric with encased melody #6748,
melodic similarities #69O 1
 Page -175-

niuos n i Ha
~ rp~6u #79 verse #5695
no TOG 6 i ropa,
~ no ~oi76 i Apyra
~ #82 #3489, 821 1,8487,8323,8437,8601,
8692,
Iyric with new melody #1899,4142,4612,
5834,5890,6150,7530,7902,8695,8702,
9507,988 1,7694*, 7697*
thematic similarity #868 1
#7640,9211
#8504,8505,
variant lyric with variant melody #SO 1 1
#7013,7399,8820,8871
#9855*,
similar lyric with new melody #7729,
lyric and melodic variant #9066,9069
M345,450?,450S,4509, ??SO, ?5>24,?04-1,
7942,7943,8135,8121,8021, 8022,8023,
8024,8341,9393*, 9288,9710
T ~ HMa ropi Kpyra sexa #9448,9449,9450,9644,
lyric with new melody MI64
Ta~ufosanwM H W ~no 6 a 6 n ~xnxi
i lyric variant with new melody #478 1
repet.1, t.&e
Usi~e TepeH #8548, lyric variant with new melody #4250
Yepeotca poxa TpoRKa #4653,8053*, 8054,8206,
lyric with new melody # 10429
new lyric #7330*
#877, 882,7712,5977,6057,
lyric with new melody #3 885
#3078,5418,5646,8379
#10952*
 Page -176-

Appendix D: The Folksongs

Tonesets,l,t. drrnfsl
Mode: ionian Bahato sontsya vsyoudi
6ara~o COHW B C I O ~ H
Sung by Mrs. Nadia
Shwaikoski
July 8. 1997
Genre: spring song Edmonton, Alberta

e 4-m 30 - 3y - m i MU- -w IICB KY -- km!

W-
ye des' tarn u, - too - Jim ee Idi- -chevse- -koo

lals d s u n s h i everywhere,
and Iknrersin the orchard!

--
A cuckoo is singing somewhere in here!
CudcodCudroot
mayout' deeti kveetil Children are piddng the Ikwets,
Vztre korhne oo veenkoo! and now each has made a wreath!
A hen' rhorl zozad'i And still, somewhere above sings
Y-m bo-itcd the~.Cudcooi
 Time set: s,td r m f Bila mene rnatf
Mode: h i a n withoot la
Meter: 3/4 6- mefie mm
Rhythm set i

-
--
WY ulo
pro0 tan scho -

I
fl tie m - R - na
n w bi Ya ne sto - - h 3

01
13
I
I
I
I
I
I
1
I
I
I
F
I
I
0
I
I
1
I
I
I
I
1
I I
I
rl
w r
I
I
I

n u I
I i
I
I I
1 I 1 I
I= I I I I
I 1
I
CLHu pe KPY Tau-
dim re - kroo tun!

My mather beat me
with a weeping bitch Mg,
so that Iwwld rwt stand
with the yaing recruit
AucuCiicroruta. But I stmd, unbl ttre chickens
~XKY~H-, called in the mammg,
Ha mepi ~ A mna
Y I poured water on the door hinges
uaCkr tte pmhn! to s b p fran creaking-
Ha -pi w a y n m . I poured water an the -,
H a ~ ~ X O L I H M , walked in on tip-be,

-
uloa uam He m M , so n#ther wauld nat hear,
ur~~ecsap= OT scdd me.
AUamw#lana, But mother heard it an,
Y- W'a* she was nat sleeping,
T d UeH8 He csaprYla, but did not scold me.
cawa1%- dyfsa! becausesheoncedid~same-
 Torreset s.1.t d r m f s
Mode: ionian
l%lksmg 13
Meter: 4/4
Boh Predveechney Sung by Mr. Meradaw
Rhythm set ,jA. > 60r n p e ~ ~ B i q ~ n i i
M*
July 10,1997
Mmontm, Alberta

-- - cn!
y
00
Ti
bee -- u m
shiv sya!

God Eternal is b a n Way!

He came damr from ths heavens abmfe,
to redeem us with his bve,
and brouaht w and peace far all.

Cubrai rote: A direct quote fran the mtributm Mr. Mer06hW Muzyka : We never have. kr example. Chrism,
Reenfvo. Reedvianey Vecheer , we never stad having our svysloy wecheer.a ~ r vochor)a [Qlrirhas eve ma
-
without singing 80h W 8 8 C h n e y it's a must And it's the fist Christmas Cud that we sing in church, ad in our banes
for the Christmas season.
Variants found in Lysko at t 6883'. 6884'. 8750'. 8762'.
~ m s e t set.
: drmfs
Mode: h i a n withart h Boday sia kohwt moadhr
-9owu
Sung by Mr. Bahdan and Mrs.
M i i i n a Lena Tataryn
July 17,1997
Genre: Songs d persad and family life Tharhild. Alberta

A HirC - aa Ma-na.
M a - la ya nee&- ka ma-la vi - s p a - h!

0 grant me Lad amUuar such evening,

kthese dark eyes!
Grant me. anothsr.
asIamst9ayamgghl.

So here I am dancing happily,

like a fish swimming in the Ounai river.
lib a pretty fish m g the perch.
Ihr a y w n g gH among the boys-

Variants h n d in Lydro at # 8316'. taxt variants cmly at # 4085.5423.5424.5769. A variant mebdy with
mother Wc at # 10002.
 Boov raz s o h e poostey khlopets
Mode: do pentachord
Meter: 4/4 Sys pas co6i n y m A xnoneub Sung by Mrs. Nadia
Shwakoski
Rhythm set: J .j July 10,1997
Edmontort. Alberta
Genre: Children's song

6ys pa3 co - 6 ny -cmR m-ne4b. se - ce - nun ~a r&r - KH~!

Barv raz so - bee -
poo stey khb -pets, ve - se - ley ta hoi - key!

B~H AO umco - nu ~e xo - m,
-
n~ -- ure mpi - n~ls W -
-
KH!
Veen do shko - li ne kho div, li she stree - lyav bom ki!

There once was a naughty boy,

Ras peeshov veen do sooseeda,
do Eevana Mooshki!
Tai v horodee vismiknoov veen
morkvoo ee petrooshkoo!
Napkhav sobee oo kishenee,
sooni yak barilo.
Azh to dyad'ko Eevan Mooshko
yoho zdohonili.
Vkhopiv dyad'ko poostoona
za chooprinoo chornoo,
tai vsyou motkvoo sdoden'koo
eez vseekh kishen' home!
Tai pdozhiv na kdeeno,
nasipav moo boboo!
Azh veedlezhiv beedachis'ko
tseelesen'koo doboo!
Pamyatav veen teye vsee,
morkvoo ee petrooshkoo.
Ne raz beedney azh zdikhnetsia
yak zhadye Mooshkoo!
happy and footloose.
He didn't go to school,
but bummed around all day.
He once went to the neighbors.
to [van Mushka's (Mr. Mosquito's - literally)
And out of the garden he pulled
all the carrots and parsnips.
He shoved it dl into his pockets
and rdled away like a round barrel.
But uncle ban Mushka
caught up to him.
He caught the naughty boy
by the scruff of his black hair,
and pulled all the sweet carrots
from out of the boy's pockets.
He put the boy wer his knee,
and gave him a good spanking!
The poor boy couldnY sit for
another whde day!
But he remembered the entire incident,
the carrots and the parsnips.
Until today. when the poor f e l h
remembers Mushka, he still shudders!

- -
Cutturd notes: NS quoted says My mother taught me this Nasipav moo boboo means gave him a good spanking. Beeb is a
broadbean, but it is also a Ukrainian expression that means gave him a real good spanking. And the poor fellow mldnY sit for a
-
twenty four orforty eight hour period. And everytime he bought of carrots and petrooshka (parsnips) he rememberedthis Mr.
Mooshka who gave him such a s~ankina.and Ihave no doubt he never stole aaain.

Rhythm set d f j5
Genre: Christmas Sona
Thehayismostvah~abk.fwus,sinceuparrit
I F e z z!c =k-
Eeda#tsarw,nesaXdarieezvosWc
Narodtheney. wpbcheney Boh ofrW
ItiFedS<Doben'red%u~ob~!
-
Noo zh v dorohoo nesi Bohoo sam ne yeezh!
Ti Andtooshkoo nesi hooslaoo, HrZs'kachkoo!
Malenlaomooshvmkomoorobochkoo-
Ti Piripe start' z peed @i, Hey chooztre!
mzpostis4 mzhdkia bokeythe!
A ti Yourkoo beri km&o - yayechlco,
naiteesh-tsia.vesetitshserdechlfol
A ti Kostikmrnav postik,Petmshki.
Tra Dity&h sokolidld bo yuushki-
TiMi)rhal)cooben'pakoovdorahooI
Soo9ostah'~stab'ko~.
Yakbiyakee~yaviiis'.
Mi M la Toho Milen- vsee bitis'.
A scho starets' za atarets' c b s b m .
Bere& skripk' novee. z @Id kayane!
Ee tsimbaid perepaldomafsia
a sldianichki ko(iadnichkinapyarYsia
Yak napyemsia to ozvemsia Hey N m Nan!
Namdiiia, wpbtivsia Hoqmd sam!
Sung by Nadia S h w a i i -
July 8.1997
Edmonton. Alberta
In Bethlehem among the Judean. forus
urns bm. a human birth, the Lord H i
krthehay,inttreguttsr,krus.amost
bsautitul child. The Merciful God. Lord W-
i Z s s b e u ~ ~ d t h e L f ~ d H i l f l
LeYs bring some dathing foc the Child ounehres.
To the hut. and under the chiid. lets lay lt aR
Pharisees. and Sadoccees are you sleeping?
RmtywseetheChildentefingthiswrw#?
OHerod,~sinfulJew,~crek&!
f -%% me Ci!!
The kings have cram8 from the &st bearing giRs
bthe newtybam, King ditaU-
You aver there. Freddy, tazying th& radish,
You cwld take that as a g R don't eaL It ywCSB#I-
And. Andrew, carry the goose. Greg- a duck!
SharethefruitsdyourhborswiththelittleLard-
PhEip,standswayffomthetree.ywfcxeigner-
~andfeastwithus.yauawfulcme*
And George, take the chidcen -and the eggs-
LettheUttleOrre'sheaknowth'ijDyt
AndKen, who hasknownthef&dSt.Peter,
~sshirethebestswpvrlththe~Orre-
YouM'lchael.bettertakeastidccmthejamey.
the enemies may hinder our path to the L#d,
But if ernenies appear. we would al wilhgly
figMthembmakeourpdhbtheL#d
Whatwilltheoidonegetf#h&twrddshew?
Teke ywrfiddles. newly made-countrymen!
T~ymbali(CYrnbm)~(ayers am
while the carollers share a dink, and a-
PW,
When we have h e all this. then we wriDl say.
The Lord is born today. as a human being, for us!
Tone set: s. 1. t. d r m f
V Vmeyemee novlna
Made: ionian B Bnc#meewimmna Sung by Mrs- Nadia
Meter. mixed Shwaiik'
Rhythm set: jb jJ? July 8,1997
€&nodm.a&elta

--$me - e - m no- -EU - na! no-Po -

W-tle - ye - m e e no- -!A - na! Po-ro -

~a
da
-
-
n -
tee
w-no
ne-po -
- pou
lbCh
-
-
na-
na
B - m
Dee- va
Ma
Ma
-- TH!
ti!
Toneset: d r r n f s l
Mode: do hexachud
Meter: 414 Fdksong # 8
Veselo Speevaymo, Eesusa Veetaymo
Rhythm set , >> Beceno cnisaiho, lcyca shaiiuo! Sung by Nadia Shwaikoski
July 8.1997

ei -raCr-wo!
B e - o e - n o
Ve -se -
b
~ m i - . a c i - ~
spee -
vay -md,
I
Ee
- c y - c a
- # a - M vee - tay -
mo!
 Sung by Mrs. Anna Zwozdesky
August 7,1997
Edmonton, Alberta

This sarg is #I1 in the VinkopMennk by Al

Be-dn-rm CM no-ur-t+a-e. 8e -dn -IM, m-cin - m!

Ve --I- ya si po-chi-na-ye, ve - see1 - ya ve see1 - - ye!

A
A
fl
ya
C O - 6
so-bee
a - T b f - K a - m
za- ti-Ica-you
a
za -
K a - m - r n O X
ka - pe -lywkh zeel
a -- M!
yal

The wedding ritual has begun,

Veseeri sia z a c h i i ,
veseelia, veseelial
Ninee deevki veendc s h e w
0- Z~Y!EL~se&!l
The wedding, the wedding!
and now I am Mng to tuck
sane magical herbs in my hat
The wedding rihral is beginning.
The wedding, the wedding!
Today the girls are weaving the wreath,
and tmxmw will be the marriage.

A oochora do rob& Yesterday was a mKk day

hdwa boleeh, and my head hurt from that,
A syohodnee na veseelyou but today at ttre wedding
zveetran pdeteela. thr (dancing) like the wind.

Zaprosiri na veseelia, They invited us to the wedding

kazafispeevati- and toid us to sing!
SQeevay darmo, bdiY b b We sing for free,our throats are pardred,
treba peedhati- it's time t~ water them!
 Tone set: s.t, d r m f V zelenee dolinee tam tri konyoushini
Mode: ionian
withoutla 8 =~i$i~ o n nTam
~ iTPWKOH~UIHHH Sung by Mr. Wdan and
Meter: 414 314 Mrs. M'khalina Lena Tataryn
July 17,1997
Thothiid- Alberta

w
CTaB cvyr - HHii
stav sfnod - ney ve - cheer mo - b - doe cleev - chi - nee, Vze -

ne
le
- i
-nee
ao
do
-
-
nn
ti - nee tam
rpH
tri
KO - H I O
ko -nyou
-- U~H
shi
-
- HH,
ni,
~a
na
-
-

In a green valley,
grew three ckwers,
a sad evening awaited
a Young gkl.

Why, young girl,

am yw sad, and not happy?
Why did yw wear y#rr
wreath so short a time?

They walked around me,

and spoke b me.
They drove me. a young girl,
crazy with their attentims.

1 shouldn't have listened

to their talking.
I should have pinned
that wreath to my head.

I Wid have purchased

pi no^^^^)
I Wld have pinned
that wreath firmly to my head.

-
Cultural note: A young girl who is lamenting the kss of her wreath even in sang, is
lamenting a youth mis-spent Now a1 the magicalpins in the world won't return or
-
repair what is bst The bathd like tbne d this song has obviouslykmt s u m d the
verses to the passage of time.
Toneset s . d r r l m f f i s I
Mode: do hexachora with rt
Meter: 414 Sung by Mr. and Mrs. 6ohdan and
Michdina Lena Tataryn
July l7.1997
TtuxhiM.Alberta

There a yamg girl is taking w b r .

sndapungcossackiswateringhisharse.

Where have you been daughter,

thatyouhavespdrtnwHhaoossadCI

A variant Wnd in Lysko at 1! 6142,

Tone set: t, d r m f Veechnaya Pamyat'
Mode: do pentachad
Meter: 414 B i r t ~ navmb
a~
Rhythm set .,> Sung by Myrosbw Muzyka
July 10,1997
Mrnmbon.Alberta

b
Eez
 Toneset s . d r m f s I
w e : do flexachord
Meter 414
Vo Weyemee ninee novim
60 Bwimeeui HHH~H O B M M Sung by Mrs. Michalina
Lena Tataryn
July 17.1997
llwrhild- Alberta

w
ripe - -- ma LU -- m G- -jw -na CH - na
Pre -
H
chi sta fhe va zro - - & - l a Si - na

- He
ne -
ob
ab
-
- Hfl
nya
-
- Tbd!
by!

There is news from BethlehemWay.

A Mad Pure V~ginbare a Son.
He lays in swaddling W i n g in the
manqer,
among~bwty.
restingon the hay,
the unernbraced God!
T- s t d rn f s I t d' V stnsee eev pokoree, v deem Bmhey vkhodeem Fdksorrg 14
Mode: ionian B ctpaci, 5 B nouopi B ~ i bwx n k ~xoaiv!
Metec 414 Suna bv Mr- W a n and Mrs.
~id&naLena Tataryn
July 17,1997
ThrwtriW. A h *
n I
- I

J
1 I I I
I P I 1 I
r n
I II
I
I t
I
I
r
eJ
BcTpa- Li is
1
110 - KO - - pi
vstras - see eev Po ko - re8

Wrth fear and humility

lets row enter God's house
to praise G d in the Trinity
in peace.

Look upon Him r#w,

He krgives ycu everything!
Accept the otfering which
tie gives yw Way!
 Tome set: s.1 t d r m Vchora rnamka v tonee boola Sung by Mrs- Anna Zwazdesky
Mate: la pentachord with kw so August 7.1997
Edmonton.AIberta
Meter: 614
Rhythm set: ,..
Sang 91 in the VCnkopdI3terrnrinby AZ

Bx,
Vcho
-
-
pa
ra
l r a u - c r a
rnam - ka
m a p -
vbor -
3i
zee
ay
w
-- " a -
h - .

Yesterday mother went bartefing,

6ut what d-d she get in the bargain?

The same rnekxly is used for sang # 3 in the Vhhpielennrinby A 2

Oi reedi Bozhe do nas 05 31- 6oxe AO nac ~ g w 5 0

Taii 6olum Mam! Tai Boztraya Mati! And Vugin Maryi

3 % ~AO m c AO xaw! Zeedidonasdokhati! Descend and be in our home rwm!

Sheysb veenochkoo, sheysla

 Hey! Tam na home Seech eede
Tmset: s,I,t, d r m f s l TeA! T m m ropi Clr b e
Mode: h i a n
Meter: W4
Sung by Nadiki ShwaikasM
July 8,1997
Edmtan, Alberta

reA!
by!
uap
mar
-
-
m-PY
she-roo
-
-
Pad
Raz!
A=!
Ova!
T~H!
Tri!

Hey, on the hi& the Seech army is m g !

Hey they carry the raspbeny cdor banner!
The raspbeny color, our glorious b r o t h e m !
Hey, they are marching! 1.23

Up at the front is W chief commander!

Hey lRre a prairie hawk,
like a prairie hawk....

And behind him is the captairr,

aadidtnan,
built We a defensive wall!
Hey, d i d man...,

Hey damane! Batlc#, nash! Hey attaman! Our militaryfather!

Hey vedi batkoo pered nasl Lead us father, bad us kmard...
Hey vedi batlrax..-. Hey, bad us father-...

Hey mdod k h m peedrosail

Hey ta do seecbe pristavaii Hey yarng man! When you grow UP,
Hey ta do seecbe! yw should enW in the Sich ccssa~b,
b y . a0 Ute Sieh..--
Heynashaseechnamdorah;al
Hey yak ta Mati vaeem odna!
Hey yak ta Mati......

Variants faund in Lysko at t 5738,5739.

 Rhythm set: Jb

To- pi - na k r a - ~ a- m RY-m-ua 00-no -ua.Bxeul

Ho-fee - h eepah - Layachmee-na m-b -maVzemi

tak ne boo
-Thechanfromthebarley
burned and maMared.
Now things w a f t be quite
as they were when 1 was at tmme.
Things won't be 5ce they were
in my mother's hans anymore,
z!!=!d!%?e%ck?!wkrd
andtokiyoutokdamtorest
- In your motherin-law's hane
bnhetlk~boobe, thmgs mxrY go like that
Nevkrjre,nsVstele, She mn'tmake the bed, nar awer it,
a sche ee ranshe zbocde. but will wake you up earlier to do chaces.
Neveesto, nevmsto,
ctro rano ne stayesh?
-
Oh daughter-in -hw @adnews literaHy)
why aren't you getting up eartier?

-
Choranonevstayesh,
karwne*?
-Yavzheeepodoyeela,
l='f-ynvala.
Eedeet' p o r f w 6 8 ~
chUn tebe nrsbrk.
Neveesbs neveesdo,
Why aren't you gettfng up earfier,
there are crmrs to miW
- I milked them already,
and sent them d'F bD pasture.
Go take a bdq
why did y u i take a,bng!
Oh dauQrlberrh-law@ad news -iimdly)
ne rozda'may hoobi, Don't open your mouth!
Baveez'mm boo Becawe I'lltake this *and
VibyoutDbee~. break ail ywr teeth!
-0i ne trebamati -0hrrotheryo~donrnesdtb
ombi vbivati, break my teeth-
Bodo b svap sina Yar shouldn? have sent your son
do mene ne shti. ba m oarding bme!
Bodobhopastati YarshoU#havessnthbn
doieesapdees-
Bcmb b vibirati
-
to the b e s t b Pdeessia(nathem boggy part d Ukaine)
You -Id have chclsen a more w e m y
bahabo nev88St00. daughter-in-bw.
-~byneveesb'
vdi em kaan'
- A nrealthy daughter-hkw
mruki hrwe oxen and m,
A menee beednwm eeno butaUapocrgM~mehss
m b r w i b~bladreyebmwsl

Variants are found in Lysko with ather lyrim at # 5015,9035,9P08,9229.

T ~ s & ItdrmfsI' De hipro nush kotit' khvilee
Mode: d m
mbe~4/4 & minpo naur xenni Sung by Mr. BohdanTataryn
July 17, I997
Thorhild. Afberta

There, where our Onipro river chums the

waves, breaks against !he s k i p raptds,
That Ukaine b always beautiful andgreen.
a g&iis, but damTtradden nation.
There amsackdun attained glory.
and freedom For the people.
Ukraine1 Ukraine!
Gbrioius, butdowntrodderr nation.
There *re the Bhdc sea plays.
videntiy with the heatt
Where the roads, the steppes,
where the oxcart drivers wander.
There k the people, kr the faith,
the carried his life as an ofbring.
lJcrabl Ukaincr!
Gkcbus. natimdthetN#sarLs.
And the~futr8ssdLapaithyafen,
and there are no hettmn (leaders)!
On the steppes d Ukraine arnt
heanthe w n d d chains.
But. as the lkwerinthefieldsawaitsthe sun,
sothe peo~le wait, they awaitfreedom!
Uldnef UkraineI
Gbri#w nation d the -.
 Sung by Mr. Bohdan and Mrs. MikhaIina
Lena T a m
July 17,1997
Thartrild- Alberta

H H - W W mn - W! b HH-rar XM - oe!
ni- mi veek zhi - ve! 882 ni- mi veek zhi - ve!

Where there is agreement h th hmdy.

where there L peaca end quiet.
The people are krtunate,
it Is a Messed phce.
God Messes them, and
-good~n~supan~m
and dwek among them krever,
and dwells among them forever-
Where there is diigr88ment.
and peace does ndreign supreme,
The tord God does nd enter there,
and sends no good things upon them-
Good things. everything. all their needs,
their livesbck, and their children.
rfrsappear like a puff dsmske.
disappear like a puff d m m b .
 Tone set d'r' rn' I' Deevka v seenyakh stoyala
Mode: h i a n
Meter: 4/4 A ~ B 6KC~HRX
~ CTORna Sung by Mr. Merashw
Rhythm set 2! >

Llis-aa e c k - n x k -R -Jta(crenm). Ha KO-3a-~ra rr;oP - ra m (imp ra -na)

Deev- ka vseenyakh sb - ya la (stop-h) Na -
ko za ka - ma-ha ia(mmha-h)

0-33. - YB XO- eip-no m a . - ue m - e

Tu ko-za -chekhedi, me-ne veer- no l y ~ - # I

A girl was standing in the hay,

winking at a young man.
Cane here young man,
and lare me!
Heart d mind
Sweetheart d mine!

Variants found in Lysko indude # 3052'. 6022'. 6023'. 6024'. 602Sg,

6026'.
Toneset I t d r r i m Oobrey vecheer pane svatove
Mode: turtdsh phrygian
Meter: 414 Aob;pnA eevlp nam cmmoee
Sung by Mrs. Anna Zwozdesky
Rhythm set !,) August 7,1997
Mmtm-Ahrta
Genre: Wedding Song Sang # 8 in the VhkoP(etennia

V
A0 - w w - - (s m - He m-To-
- - m f
- ve!
Do - brey ve - -cheer pa - ne sva b -

n o - 60 n i - - - nn scbr Hac - m - m i
p o b o - l e e - - u - vseeb nas na - hi!

Gmd evening, sir, father in law.

let us in. sir, all into ywr house.
m u s e we are people fmm a long hard j#tmey.
andalldusnovvhavesae Peet

Tainebavtetras,daitenamveedpoost Now. don't play games with us. give w leave b go.
Ta veedpravte nas,daik nam seesti, Send usmanway, letussitr#w,
bo rniz h a p relenenkdK1. Because we are fmm a green nrooded West,
miveedpana~nkohoI from a mng lord.
 Sung by Mrs- Jean and Mr. Geacqe
Rhythm set: h. $. Bidniak
July 19,1997
-
Kkmdike brealdast St Andrew's Seb
Mm)m Alharta

Z h i - bb m a - ti. z M - to m a - ti, m-w Ne po-b - va!

Ca-w He ara-Aa - lo!

Sa-ma ne vha-da - yw!
Wuter rye grain, tndher!
Notthechaff!
HowamIndtokwetheca?sack
when he has such dark brows?
refrain: Hey! I don't know what l should do?
Should IpawiththeIkwdthestream
(swim with the tide), ar should I drag my heels
(bum- m e -1'7
I redydanrlcnawtheanswer!

The winter rye, mather!

Nat wheat!
Hawshoukilndbvethegirt
if she preens herself so tidy and trim?

The winter rye, mother!

Nd buckwheat!
HawtanIr0tkWet)legirl
rsheisfromHalychm(- -
a orwinca in Western UkraineM

variants:
 Torreset: d r m f s l d N
Mode: do hexachad
Meter: 2/4 Sung by Nadia Shwaikoski
Rhythm set ?> Jufy8,1997
Edrmrlrn. Alberta

Keo
Kvo
-
-
KW!
kvo!
K r o - a m - o !
Kvo - kvo -
kva!
--m
-
Kvo kvo
-- KY),
kvo,
K ~ - ~ - K # ] !
kvo, ho, ho!

Ascbt~~~rahnah. Before she auld get three in the house,

a d v v -tala! she!hadbampledtwo!
O b e m o d a s ' . ~ . She turned around, brushed agakrst sanethkrg,
a Mbetye vpa&! and feltl on a Wid one!
-
refrain: OWt o h - refrain: Okfr-drh.,,.

Variant h n d in Lysko at clt 10007'. and this Cyric with another mekdy at d8441.82M.8274.
 Eevane, Eevane sertse moye kokhane
Toneset: d r m f s l
Mode: do hexachord fearre, Isam cepqe MOC KoxaHe
Meter: mixed

Sung by Mr. and Mrs. Wniak

August 7.1997-

-- ---
Cepue wr - B a*- - te!
S v a - ne! €eve ne!
Se~tse mo-ye- ne!

W ne r i - i A b - - n n - w
0 de m - Y - do - - 6 - n i

w
Ae rw - -m-61 - - rm?
de mi
CFI.
sya +bi - - E?

hmrre! bane!
My heart. my love!
Where are thase valleys
in which we were in h e ?

Oh, where are those valleys.

and those gassy places?
Now. I guess we must part
beaus8 people are W n g about us.

The little ones talk about us.

The dd onets talk about us.
And even our friends are Wing
sbriesaboutus.

From field to tieM

there was never a poplar tree.
And people worried that I never had a field.
N w in every field there
will grw a poplar tree.
Hcwever, it is truly better to have
a lavety wife than one hundred hectaresd
land!!

CulhrraInde: The h g e d a poplar trse is prsvabnt in many kEk #rigs d Ukraine. Fdkbre
saysthat ifa prigmaiden is parted *om her bver needlessly, 8he wastes away and returns as
a Whr trm. The same imagery is in a srrq by Vobdymyr hrasiuk saying 'don't
the poplar bee, maybe the poplar bee is your fate.....don't break tfw branches because she
is p u t only buo bvs. it is better Lo &rhgher water (rove)'
 Toneset: m.f,s,I,t, d rrn Ee shwmit', ee hoode
Mode: ionian t wyvnn, i ryae
Meter: 214 Sung by Mr. fkhdan and Mrs.
M i c h m Tataryn
Rhythm set J$
July 17,1997
r)whw. A l h *

m Ap-ao-uy
A m m e - n e m~ - b - doo - YOU tai do-do-ma, po - ve - de?

It is thundering end lightening.

A light rain is Wi.
And who will take me,
a young woman.
rome -3
A young cossack replied.
from the green glen.
dance m, dance on,
wg-*
I'll lead yuu backhame.
Don'tyarleadmehome,
ohlbegdyou-
Fa I have an angry husband
there, and he will beat me.

VaMnts found in Lysko - d u d e #4288,4289,787SW,7876.924T. 9248',

5249'.

The variants hawever speak abwt a yarng

rvanan.andnotamarrZedwoman.
Tone set: s,td r m f s
Mode: ionkn without fa
Meter: 9/8 Sung by Mr. Myroslaw Muzyka
July 10,1997
Rhythm set: J JI Edrnontm. Alfmfb
Tone set: s. I, .t d r m f s Kazata mi mati, sin- orheftisirr Fdksang r 29
Mode: Mian
Meter: 4/4 Sung by Mrs. Katie Zibronrski
July 17.1997

My m h e r told me.
son-getmanied!
Don'tpwanderh.19and
partying all the night

I am not at fautt that

the feather quilt is not warm.
M d h r gave us the
onty kind d quat she had.

Wait until the feast day d St Peter,

she (in)will b warmer.
Wait until the feast day of St a n .
she (it) will be very nice,

Cubral note: This s a q relers to the seasans as described by the Feast Oays d St s
Peter and John, The temperature ax!lime dthe year are nated. hanever. the song
refers also b the feast day d S t Sohn -which is celebrated at the summer sdstice as
-
the feast of kana Kupah a pre-Christian festivd associated with the pagan
'lertilirites. This song is a humorous lmk at this type d warmth,
Torteaet f d r m f s f
Mode: bnian
Sung by Mrs. Katie
July 17,1997
l'kxhii.AItle*
-

tie - - nel
ne
IKO
vko - b!

Mather made somebahd,

andimffedthemxkmenbthe~.
Eat the lavety green salad boys
since yaRe here, kiok at our yarngest daughter.
(acbral[y rhe refers b her daughter as the 'snatty
noeed~'which&probaMyan~,nrral
nkrenw Lo the y#mgest child.)
T'set m. 1 t d r m f
Mode: hhexatmii
Metec U4 Sung by Mr. Bill Labatiuk
Juty 31,1997
SherwoodParkUberta

Kim- da yse -desh. v m z d - -

-rha yesh mo-b - dey Lro - ta - - che?

The ce3sadc b bavhq.

his girl is crying-
Where are you going.
whither so, my yaung man?

IVtakealittbdWr,
Mddtbes#eIhe~*
eyes hadn't dreamed ywt,
butIt&thsmarawl

The tyrics are hind with another melody in Lysko at It 9694,9695,9696-

 Kolo moyee khatee
Kom mi3 xarI Sung by MIS- Anna Zmudesky
August 7,1997
Mmontm. Alberta

Sarg #Z2 in the VhCGbpktennia by

- H a m c - a - = - m a -
-chi - M - d a - v a -
w h e n s b w s ~ ,
myounggM-
whenshegdmanied-
-He u t y w n W ,
t a A ~e p c a m .
-Neshoaniiee~,
tai ne rozvivaysik
- Dont rustle, Oh hazelkrsh,
and stop prauving-
OCi ne m c
c4,imu+ca, Oineplachdeev~. Oar? cry, young maiden.
i .
~ a i~e in - tai ne vaeddavaysib anddocl'tgetmanisd.
R~w~eulyYirn Yak mi net shoomseti- HovvmIndbcuSfle
~0nw-y sernw- koilmzekmnka. when Iam g r w a w i n g ?
RKy~nennwatn Yskminsphkati. ~awamlndbay,
I(OCUI-Mw e t b a a - k&m m d o d s n ~ whentamsopung?
-y ~ n t # v s e d y e e ~ r ~ u ,

-
-6Vsakrem. Bwvayb rdorwee, -&wel,beheslthy,
A 6xe IcnT3(~lrsro. becawelamnowbavinq,
6on~Anrmi €faya v Anhleeyee t have a new -Uy h Enghd.
mxe mo- nhechdavsdca~you. and a husband-
~ w a r o . C m w ~ m a y ~ , I h a v e a w ,
mefi npyY OonmY. 8hd drodwx, andadbr-nW-
R ao WTJW Yadovasp-, twmoomeb-W.
rirrnn~mcrny- taaMao- b u t ~ a r a w ~
-Em--
-noeaw,
-lkwa*-.
-m.
- Be wl, bO MY,
mimeh doastsps.
Kyan mx a b w l KmdivsskhbdiE, Whsre0ncawaJk.d
ud6irdnond maye~~hnohi. mv whlte k.t
Toneset t, d r m f s l LeW chomey otel Fdksarrg f 34
Mode: ionian
Meter, 2/4 b Open
h ~ n t qop~blfi Sung by Mrs, Jean and Mr.

St-Andreds Seb
Mmtmtm, Alberta

-6i ses-tia vktia- tee

The Mack eagle Is nying
and sarowfuUyc a f i -
Sister sits in the hwse
and cries w e t her brather.

He wentdfto
a faraway hnd and
fell wounded from
a kes cannon shal.

I mite this letter bo you,

but bo not bll rmt).Per.
Tm, years have passed d m
I have lain here in the hoepital.

My homestead
wWsanbeaMaEkhde.
Neemtorm pohlane, Nobody will take care d it,
nee tab. nee m mither father, ncr mother.

Wis =rns Rice a very dd song. During the singing many d the 80 pkrs aawd at the senias tKIlne sang abrrgsspsdaay
the ones who were sitting right in front d the singers. It also seems as though sans verses have been bst
Toneset s. I t d r m f
Mode: aeolian
Meter: 1218 Sung by Mrs. Nadk Shwaikds)ri
July 10,1997
Edmntnn, Alberta

fa te seerenkiy
vse prileetav,
tai peed veehntsem
beer, b e e r speevav.
 Toneset d r m f s l t d '
Mode: M i
Meter: 4/4 Sung by Nadii Shwaikoski
July 10.1997
Edmonton, Alberta

And there is no f r i i ar cunpanim

I~euatfacsiriapyla like father or m n
RK m u i u a ~ n ! Andthereisnohouseorbuilding
TaA wiW an pimy maedearthanrnyfamifyhome.
A H8 3b4-y X~TH!
 set *' Uubliu ya mmoo, Rubliu veetsya
Mode: b a n
Sung by Mi Shwaiiki
a
July 8.1997
Mmton.Alberta

I We my n#Ctrer, and my brd

(fatfietiarchaic term)
1WeihehanewhereIwasbom.
1 h e the church where I go to pray.
Ihethexhodnrherel(pblearn-

-
60 riWYHOY(H, HHBH A m,
m u e ~ -emi ma!
b uotyr B~LUI(Y.uo ruodnlo R?
Llem~pamapiAHajeurw!
80 tee h r m k i , nivi ee leesi,

80 scho t
-
miiee d r i mene pwnee W!
m vidzhm. scho IywMyou ya?
Tse moya krasna reedna zemlia!
Because those hih, valleys and mrodbrrds,
are dear to me. full d beauty.
For what do Isee here, what do Ih e ?
This'amyownnativetxrnehnd
(personal, ndpotiticalreferent).
 Mode: ionian
Meter: 444 Sung by Mrs. Jean and Mr. George
Bidniak
Rhythm set Jf 1 July 19,1997
Kkndike Breakfast
.st Amknwk .*h

Mas Ais-w ue - nyp-nem -

Mav
R
ya
pa3
raz dew-chi -- n m8-k#,
QH,-Ky
d m - p o o r - m ' - ryl
kco!
n I I 1 .
-
I I
I t i 1

-
I I I I
I rl I I I I I
4 I 4 A 1 I F
1
I
1
ri
I w I I I
I
J

r&!
MY! f(e~
rdi -
-
-- ra!
ha!

I sent my amdaIshnatchw
bkdcbr a deal an Sunday,
u?aJgMwe'd danca
at aur weddii aam!
T m s e t drmfsld'
Mode: do hexachord
Meter: 618 Sung by MiShwaikoski
July 8. I997
W m t o n - Alberta

Hiu
Neech
ma-xo
-
nad Icho
- ? rpe-
- drY, tre
-& am-m,
- - baspa ti,-
KO
ko -m b n
te
-- 66
be
pQz--
roe&
-ru u a - m l
- na ma - ti!

hldher is r a n g her son bo deep.

as she r&, she ts singing.
Night is falling, it is time to sleep,
mother Mi stay near.

Away from us,all evil things,

let it be quiet around this Chad-
iwiClndsleep,butwillsingfory#r,
Seep little chfld, b a y , bayou-

Spi mienlceye dityaW

daki~,mJ-~speevayar!
Spi or,dwakfl nemOYr~tlco,
ddd sni tebe k o k h a ~ .

Variants found in Lysko at f 740S0,rnekxfk variant with arottrer W at #7563,2838,3307.

b e s e t : s,f.t, d d i r m f s
Mode: imian
with di Sung by Mrs. Anna Zmwdesky
Meterr 6i73 August 7,1997
mwrnset 1 !b Mmorrtm. Alberta

Genre: Sans d Psrsanal and Famihr Life IBathd\

This sang is C i 2 m the VMpktennia as sung by A Z

npy-rou y - xa-m - m CTO-T'lb - = -

- -
1

Nad Roo ban oa bo zee ti

kha- - na do -yeef. -
Zhi

V8 tam w v - chi - na kho - ro - sha yak Weed

OverladFingthe Rut river

in a green meadow stands a hbuse,
A girf lives there,
beautifut as a lknw3r.
Her eyes shine so tuighfly
in the evenings,
n w - h ~ ,
juatpa!wanddreamm!

Overloddng the Rut rhfer,

Umy are gathering periwkrkle.
Md weaving green wreaths
fmthewsdd-i!
In the house play
avidinandabass,
~thsguestssktg.
How happy it all is!
Toneset (d r ) m f s I Ha marl ntTa, nits
Mode: do hexad#td
Meter: U 4 Na mnohee leeta, leeta Sung by Mr. Merashw

July 40,1997
Mmmtm--ria

ni - la!
lee - ta!

!!! - Ta: m' - ra!

Na m-hee k e - ta, h - ta! Ua mno -be be - ta, lee - ta!

i Ha m - c k c - n!
oe M apa - eeen - ya!

n
- -
1
I
I I I I I 1

I I I I 1 f C F P T
! I I I 1 I I I I 1
eJ I I I I I I
I
Ha a 0
I
- n,
pas' - i tCd
rra
A
qxt
-
- soen
m u
- ya!
!
Na z d o - r w - y a . ee

A -
1 I
I
la!!
ta!
 Ha He61 3 i p ~ a
Toneset: r m f f i s l t d f
W e : ionian with fi Na nebee zeerica
Meter: 12/8
Sung by Mrs. M i Lena Tataryn
July 17,1997
Thomild. Alberta

-- -
- a! Cna- - d -re! Xpycroc - at! Cna
X~H-CIOCPW-LIHB
Khti-stos R o - d i i -syaI Sla- -vee-tel - -
Po--
Khn stce Ro di - syal Sh - 8i -te!
vee - te!

Variant famd in Lysko at # 9815'.

Toneset l t d r r n t s l '
Modes a e d i i
Meter: 4/4

Sung by Mr. Bill labatiuk

J u M 31.1997
Shetwaxl Park Alberta
Genre: Wedding Song

On a vide river
there swam wme duck6.
That is a bvely wreath
that the gbk have w e n .

T a y he (the wreath) Is green.

andtomorrwb~l)wirr~
The ywng girl W stand
bo take her marriage vaws.

When she is stancjii fD say her v w s .

she!m i cry.
She w[U remember
her deadland buried n#ther.

Wake up, rdherl

because I am givhg myself in marriage!
I have a green wreath
ar my head!
W e : iorrian
Meter, u4
Sung by Mrs. Anna Zwcudesky
August 7.1997
Ednxntm. Alberta
SQCKI # 23 in the VinkaWtennm by AZ

Our matchmaker has done well.

rtcm he's taken the svashki t
o dance.
He's odlected them from under the oak trees.
sumwarethinandsomearefat

Cherez hrechkao. cherez stav.

Toshcs' khateev. to dastav
Teper mayesh, berezhi,
Za droahimi ne beezhi-
Tarsset a,Lt. d r m f s t
Mode: h i a n
Meter: 6i8

Sung by Mrs- Katie 23bfowski

July 17,1997

ua -

W[an'irilcawJlebeat me up.
Madnhsure beat me up.
Shebeatme wn,
qdmad was a0 turned arand.
M a h k a sure beat me up.
Shetaeatmeupwtththis~
Shebeatmeupwiththisstidc
ShbusedthiS8tiCk.
snd there is a big bump behind my ear.
-beat me with a stick.
Folksong # 46
see # 65
Taneset s I f d r m f Oi de side!&, derh sla podeels
Mode: d m
Meter. 4 4 W4 OI Ae cnpCfna, /re CR no-
Sung by Mrs. Anna Zmudetky
August 7.1997
Genre: Weddina Sma Edmonton, Alberta
Song 118 in the Vinkop&tennkn by A 2

whymn~she~in*
and approech
the newly hewn table?
Whymnrshemh*
and purchase (rescue)
the wreath from the women?

wmpdd,
northiidredodor,
will the wreath be purchasedl
Only with (wishes for) good fortune.
good health.
a gaod future!
 T m set: r,m,f, s,l,t, d r Oi deevchino, shoomit' hai
Mode: iorrii
Meter: 314 W n n raA!
Oii (IJB~~HHo, Sung by Mrs. Jean and Mr,
George Bidniak
July 19.1997

'0 young girl,' whispers the nroodland,

'you must farget the one you he.'
'Let it whisper, let R Ml
CI1 have the arre that I bveI'

'0 girl, heart at mine.

Wy#lmarryme?'

'I m r marry you because

yw have no house d your awn.'
We'll go live h adher,
until I buad a house far us.'

'&lad a harse d wiid grass, horn a bog (junk). but

don't expect me to live in sameone stse's home.'
'Because scrmeme else's home w a ~ M
be like
a mather-inhw, d i f t and angry.'

Variants in Lysko at i5710'. and 6140.

Folksong #50
see #IS
Toneset: d r m f s l t a
Mode: mixdydian
Meter: U4
Sung by Mrs, Anna rwoxdesky
Au@ 7,1997
Edrnmtm.m r t a

Genre: Wedding Sung

Song 12 of the Vinlcopletennie by A2
fi t 3
I I 1
-
1 1
I I I I A 1 I L I 1 1 r
I I A I F 1 1 I I F u I
A A 1 I I 1 t
I I -
I I 1 1
1

Cubed note: l b parents d ths p n g aoupk ap p r d the tabb

behind which sit Ute yarng pair. The parents choose s w e d d the
fSnest vines d periwinkleand bless the beghnhg d the wreath
making. They pass these blessed p W s Do 818Gad-mother ( a
match-maker mxnan ) and ths rfhrdamtinue s
Toneset d r r n f s l t d
Mode: imian
Meter: 314
Sung by Mrs- Katie Zibrowski
July 17,1997
m i l d . Alberta

Iflhadorrlykwrmn.
how life would be kr me-
I would have drowned mysH
where the water k wide.
Imrukl have drowned myself,
and sunk to the
My mather wwld h e aied cuer me,
and forgattan about me by now-
 Tamset d r m f s l t d ' 01 koome, koome, dobra troreelka Fdksang f 53
Mode: imian
Meter: 414 Ofi Kyme, W,A & P ~ropin~a Sung by Mrs. Katie ZBn-

0 male baptismal w.
the whiskey is good,
iresF,&&,
until MorrQy.

From Tuesday,
untilWednesday.
kt!s try some
'mt?ad8Way.

From Wednesday
until Thursday,
yar'll~tobuy
m e
A veed chetverha
arh dopiatnitseeJ,
Oik#me,koane,
prdaib pdwnitsee.

Varianb: Lyric nhiMMs may be kund h Lysb at 8 $714,3667,8298-Two dher hbrastingvariants h

LWo, neither d which are mebdicaUy variants, text and oorrtslrtvw dose at l14ll. rl714.
Toneset: s. l t d r m f s Oi mda deevchnfa odnoho kcazaka
Mode: d m
Meter. 7n a MWta A!BW# O A W O Sung by Mr- Bill bbatiuk
July 31.1997
StrervKlod Park Alberta

re: Historical Song

m - r o m - - aa!
b - h~
KO - a - K a
ka-ZZI - k s V r y a
sa
LB
10- A
W r - Y a - - ka!
 Toneset: m, I t d r m
Mode: h pentachord
Sung by Mrs. Anna Zwzdesky
August 7,1997
W m t m . AIberta

Oimamo,mamo! O ~ r , ~ l
Zhito r bavoyw! There L grass in the wheat!
Oimamo,mamo! (loreign parodss ~ . l a rh
g grains;
Hepbchzatnmpu! Oh mdher, m d b r !
Dorr'taylorrne!

0 rrotherf
In the garden Umra are heafng he*!
0 nsother, motherf
My wedding hasalreadystartsd!

Culturalnde: ~ s u s p e c t s f r m t h e l y r i c s t h a t t h a b r l d s - ~ & ~ s b a R t h o p r o c s e d i n g Shsnys

s.
thatthe~ykashadhaneisderrciars.and~Mwhererheis~themwMawsw811wre~
give her a less aomforting meal. with ather hgsdients h the wheat ..w heat abo being ths rymbdd chn and
khsMp-intimalingthattife inthenewhanswBfbeveryditferenLTho mo(herbsbaunriefved8ndths
dauahtar advises her to oidc same h d i herbs ~ hths aadm.
 Toneset: d r m f s l Oi mamoonyou sertse, vikwpi demvtse F d b g #56
Made: do hexachotd
Meter: 4 4 V W Cepue BUKynH AePeeUe Sung by Mrs. Anna Zmudesky
Rhylhm set: Jb August 7.1997
M m a n h . Alberta
Genre: Wedding Song
Song #7 in the Vhkopktend by A2

a
Oi
M a - M y - m o
ma - -
mao nyar
cep-
aer -
ue,
tse
m - u y - r n
n' - b -pi
~e-pea
de-rev
-- wl
Cse!

Hi aa rpU, H ~ = J & = . HB 33 YB- -ury BH-~a!

Nee za hrwsh, nee za dva, ne za cha- - shoo vi nal-

Oh dear mother,
buy h e tree d life back from the gramsmen,
Notfbracdn.notIbtwo,
nat even kr a battle d wine-

Cuttuml note: The grarnsmen take the free ot life (a R!k tree upon which h e guests have hung a aymbdic gift
pertaining to good fortune in bfam d a good wish) ( or sonretimes they actua~ly -
take the bride but sometimes it
is simply her hqm chest ) and try b ransom it b the highest bid. Here bhe boys say that she can& have the tree d
life,ndbaodn,nariwhva,devenAwabottledwine. Atthe vinlcoplelennmtheresearctrerattendedin
Edmodm, ttre groomsmen -all fran Enghnd,demanded ths finest whiskey in the house, and that the W m g
guests all sing an EngGsh m g to win the tree hack The entire group sang We aUke h aplkw- by the
Beatks. The tree was returned to the bride.
Toneset: si, I t d r m f s
Mode: harmonicminor
Meter: 414

ozi NXO-liH rpt-

-
-u
- W mi3 W W - W - W M - a,
Oi n e k b - di Hri - - -tsyar: tai M ve - char- ni - bee,

Odm'tgo partying Gregaybostrwtdances,

because girls out hem are enchantresses,
they bum hay, make a haze.cod< magical herbs
to take your health, and y#l away. Gregory-

Sunday morning she wentdodig magical plants.

h4onday she washed them.
Tuesdayshe a&ed the paon,
and an Wednesday she p o k m d Gregwy.

On Thursday, Gregory d id ,
on hiday, they buried hm i
The buried h im near the bader,
and all the girts aied over him.

On Saturday morning rwther beat the girf,

Why did you poison Gregory, daughter?
 Tmeset rn.f,s, I t d r m f
Made: aedian
Meter: 4 4
Rhythm set: J ..?2 > Sung by Mr. BiP tabatiuk
July 31.1997
.shawmx! Pluk.A h n f h
Genre: Sonas of Persanal and Famihr Life fEalbd\

Oi ne ya to plactmo. I am nd aymg,
p k h o o t charnee-. just ths dark eyes are aying.
Ne dayout' qmkoym They give me no rest,
anee vden*nee v nodree- neither by day a by night

The neighborsthat are near -

aainals b s -
rvitlnotletmsgobher-
b bve my girl.

O.IwalQobher,
and wit kwe her.
R take her bmysdf.
and live with her.

FIK veu irrt ( n w iAeu)~sro,

ne uaxai3 py~oro,
uo6 nlom tte 3 n m
ulO~r0r3T06010-

Variants: A mebdicfragment b (ound in Lysko at t697, lyrks with ar#thsr msbdy at (t6510,
8261.8262.8263. a. 8499.
Toneset d r m f s [tad'
Mode: mbrdydiian
Meter, 2/4
Sung by Mrs, Katie Zibrow~ki
July 17,1997
Thahad. Alberta

Tam o - f a - b -*chi-m'-ka vo- l i - k u n c h o r - m e - -&An! m' - khn!

She was pkughing,

but didn't really kww haw.
SosheiwitedaassdC
b phy m the bandura.

ts Rat the oxen.

ortheu3ws.
a at my brely white face
and Mad< eyebrows?
 Sung by Mrs. Nadia S h w a i i k i
July 8,1997
Edmonton. Alberta

A
t-
I
i
I
I
I
I
I
I -
a
I
I 1
I
1
m
1
I
I
1
r
I
I
A
c
I
I
L
I
I
I
I
-
A
I
I

w
1
I
1 1
h
I t

o,
Oi
-
I

pee- di zhti
W
ki
-
-
U ~
tsyw,
. n ' - A M
pee - di
no
po
m-/tH
vo - di
-
- w,
tsyou.

BH
Vi
--iyah
mr KM
k i -
- -ulo
-&you
3a
ta
BY-xo.
voo -kho,
TaSi
tai
m-no-
pa b - - -- rhi
]I[HB ~e
de
cy
800
- xo,
- kho!

ne-rol
Ls - zhi
K H - w
ki -tsyo~
v -
boo -
-
-
m1
kt,
a
a
R
ya -
3Hak-~ly
doo - proo
-- +a!
ta!

Olittle kitty, goandgetsome water,

but becarefulanddar'tfaltinthewUI
Little kitty wnt to the we!, and LR in1
llw large male cat went to rescue her,
but couldn't see her!
He pulled her a& by her ear, and moltlad
her saying, you by here kitty, whik I go tind a
a m . But be* he wkf find the switdr,
the kitty had d i i p s a r s d .
 Toneset: d r m f s l t dr
Mode: bnian Oi peedoo ya do mline, do mlina
Meter: 414
Oi4 nlay SI AO m m , AO vnnm Sung by Mr. Bohdan and Mrs-
M i i Lena Tahyn
July 17,1997
Thnhikf. AmrtPr

V
Tau - rr,u--
UK, xo - PO -- shey!
U I ~ ! - Me -- ne rperc- MY 3 rpo - w k !
Tarn -
TU
to mam tsyar kfK# - ro Me le hreeh- koo bez hm - s h y !

I'm going to the mitl-

There's news about the mil.
lhere's a new mibr, mother.
H a t a gmd miller, mdh?r.
He's sogood. r-r,
he m i the buckwheat,
forfree!
Mele, mele, HemiQs,andm3Ps*and
Mkeesh nasipaye. pciurs the !lour into bags.
Scho nasipe* When he sbops,
mene p n i y e . he embraces me.
refrain: Tam b... Het a good m'Ekr.mather.
He's 90 good* mdhar.
he mftts the buckwheat.
kr Wee!
Me*. wne,
wne-peureTye.
Ulo 06ep+ienr1-
-He noclinyc!
n~mn-a:T81tm -.-

Variants kund in Lysko at # 10755'. 10756'. 9146,8S1.

 Sung by Mrs. Anna Zwozdesky
Meter. 2/4 krgust 7,1997
Edmonttm AJberta

This song fs #lS in tfwVikqMennh by A2

A
A
ei~ m
veen pi
-
-
r,
vo
m - m - = - a
po- pi-va-ye
mM
tai
no
po
= - t i
kha - bbe
xo
kho
-- m!
dW!

Wel we came to the wedding.

and what is the matchmaker
(-I doing3
He's drinking beer,
and waking around the house!
 Oi pleteet deevlcl veenki
Sung by Mrs. Anna Zy~udesky
August7,1997
Edmonton. Amria

0 wewe the wreath girls,

Lace h the periwinkle,
Our dd friend wiU no
brrgerbemedus-

The same melody is used br Smg # 10 in the Vikopktennia by Al

Ne plach, ne plach molden'ka

Dorft cry. y#rw w.

This is what y w wanted:
b sit right beside yoor b e d young
m.
 The musician is playing -
wen, what eIse mxrtd yar expect!
The musician isn't much gad fo tending to his house
and hune, but he sure is good at sbrging!
Hewhobvesto*.
atsObvestomxk!
That alme makes h im a worthy p e r m .
wath b d h g at straight in the eyes -an honest man!

Sang f f? in the Vmkopletennia by AZ.

Chomoo droozhkl ne speevayout'?

Why are the kidesmaids not singii?

Have they bdtheir vdoes?
111 betthe~yatebPomanypatatoeS.
Md can hardly breathe!

Our friend is getkg married,

andlwillbe marriednextyear!
I3 be havinga wedding,
and -9 be having a # n l
Toneset: m.s. I t d t m f s
Mode: a e O F i
Metee 314 Sung by Mr. 8iII Labatiuk
Juty 31,1997
She- Park- Nbarta

But I promise
Ooteay~~thebuth,
when y#ir hands
w%t be tied with mine.
Tone set m,f$J.t d di re m f s I
Mode: iarian
Meter, 2/4
Sung by Mr. Bohdan Tataryn
July 17.1997
Tharhild- Alberta

I I
I
I
I

I
u
PI
r
I
rw
Hrai
uo
mo
-- pe!
re!
w -m m-pe!
Char- rw, mo re! -
6i - n e w - p e
Bi -k m o - re
rn
ha
- m
-
la
ri-Ti
p-gse

ha - h - gee-gee, ha - h gee - gee!

 Taresets d r m f s l
W e : do hexachord
Meter: 614 U4/ Sung by Mrs. Anna rwardesky
August 7,1997
Mmtor,.Atberta

Genre: Wedding Song

Song (C 6 in the Vikapletennia by AZ

s n a p 0 f a !
Oi Jcb-chi-Ca mo- b-denD- -ka z p o o ro h s !

The maiden jumped alf the porch.

Goodbye rmther*be wll!

Don't ay &r kr me!

Iwm'ttakeallthegaedfodunewithrne.

But y#lhleft your kcrtprints all aver the yard,

and y a ~ teardrops
r a
t the tsbk.
&It why, ywng girl aren't you sad?
You'll rot be s maiden any more!

bandng and singing gameis are over. you mn't be

able to stand around to visit with suitors any m e .

'Ihe same mebdy is used for song 820 in the Vikqletennia by A 2

To ~ lm( e MH u a w d 3 myxUam. TOyak p w d e pan mdodey d r e b a m i , &cause when the ywg krd cxmes with his
wr~bueTedeuoncme~<yliAvavc u d m tebe mdodenkoo veed mami. groanmen, hell take yar-a young girl, away frcm
your m&or.
 Toneset: s. d r r n f s l Oi tam peed horoo, tam dolinoyou
Mode: do hexachord Fdksarg # 69
Meter: 3/4 OR W Ilia ropy, TaM AOnUHW
Rhythm s e t .. Sung by Mrs. Kay Zbrowski
July I?. 1997
Thomiid. Afberta

Tau cu - liie w
no
-- rrl
you!
oh in tho^,
dawn in valley,
theresafamab~e
with his female dare.

Hekkwdheranihe~,
they laved each d h r ,
mapping each ather
in their white wings.

In Ww a falcon
fran andher area,
and vklentfy separatetl
the pair d daves.

OA maanem. Oi d a l e ko, Oh nd very far away.

mno r p a ~ ~ u i Mo hranbtee. near the batder,
Tau mi nemn Tam tf-yee pekli they were cadcing
(2 x)
~ p c intlle~nui
i yara psheni-tsee. wikl wheat"'(Wyvo)

The beautifulw e
wantsnonedit
sinc8shecannathve
without her lave.

He x m T c m . She mn'teat,
Hexorem and mn'tdrink
Hem ronyba. She has no lave.
H e u a 3 ~ ~ ~ ~ ( 2 ~ ) a d doesn't want bD live.
Ohbutlhave
hvsnty mare doves,
dwxrsem
arrspuwbh!
Let there be
twbnty and bur.
There will never be
an&e~ like my lare.

Variants: Lyric variant with adher m b d y bund at W17.1087.1709.17~0.3822.Ihernatkhbfy vulsn( d 19251.and 9547. R*
a&cted brain isfarmoresoaringthantfm Mbd ranpegkan k h e m g coled.d hZakarpat!ia(Trarm-Carpsthh).nd indudsd h(h.
Sarodrinskiv odkcti#r Vdume 111. #26.
 Toneset: drrnfsl
Mode: do hexachrd
Meterr 414
Sung by Mr. Bill Labatiuk
July 31,1997
Shemood P a k Aiberta

Genre: Songs d Personal

~ n rFla- I if& (RalM\

~ h a n ti ne z h - yesh de
n mu-Ku
ya mesh ka -- yar? do
n
ya me*
wu-M
ka
-- R?
P?

0 you young man fran a foreign M.

WhydoyoustilinotCtnawwhere live?

people to meet has never presentedprabbms to axlrbhig. The t r a d i in Ukainian cornmurubeS

.
Cultural note: This sorrg is BSSQCiated with the patternd oarrbhfp. Not having W l k t s k yroung
*

was ahvays b meet in the evenings b walk, sadake, dng und dclvrce. &mng even aantbmporary
visitors to Ukraine, it mtinues b be a marvelbus revehtiorr that singing and dmchg continues ao
upantaneously durlng the evening get-togethers outside during p a i d s d good wedher. Mr.
Merosbw Muzyka suspects that the higher h u M i in UkaimaIbws th.sounds d shghg bbawl
aver a wide area ar warm summer evenings, mthat entire amnunibshear the -ties such as
rewqmui(vecbmibe).
The gkl in this song has placed a very high value on getting bp know the new yamg mw. The
beautiful W goos4 is a Large part d her family's tinandal resn~rces-
VaMnt kund in Lysko. lyrics only with a new mdody ut -83.
 Trneset m. I t d r m f s
Made: -tan
Meter: 214 3/4 4/4 Sung by MIS- Jean and M r . w g e Bidniak
July 19. 1997
St Andrew's Seb

In the field bere are three wells.

The m6sack b e d three girts,
a dark haired one,sfair one,
-
and a third a red haired beastly one.
Thebiackhairad~IkvewithaPmytreartl
IacebfGrtwith~Marde.but
the red an8 is the one it wmms
I must make a finaf farewell with.

Half d UKIorchards bear W s ,

while in half tho achards thsy fa1d-
Orre pair may be married. while
anathsr pair must part ways.

VaMnb are kund in Lysko at W54OI4541.4542,80l7, 8668. An almoa exact mebdii vsrhnt is kund in Lysko at #4542. me m t
8tsrtlEng Uiirsnce is in the way measure tm,is rotatedhere. Lysko has rotated the entire mekdy in iriple meter. Andher variant in
Lysko at M510 uses mixed meter (as given above) was odkctsd in Pereyasfav, Pdtavxhina ( in central Ukraine) and was sekct4d by
Lysko from an saclier odkcticm by Lysenko (Desiatdr VII, #I).
Toneset: s t d r m f OI khto khoche mati
Mode: imian
withoutla Oii m o xove 3mm Sung by Mr. Bii Labatiuk
Meter: U4
July 31,1997
Rhythrnaet ;> Shermrod Park. Alberta

chi - na
H - n a
mi -
M
-- e.
ye.

Ifyou wantbknaw,
then just ask ms
what a girl doss when
she Is seven years old!
Yak seem k t minaye When she b seven.
do s h k d v-na Mi. shegoesbbschod,
?asoboyar khkptseev and drags the boys behind her
po chatiri v d i . -k u r at a time.
When she is ten.
she starts thinking shout makeup,
and goes on the strest
laughing at ths boys-

0 daughter dear,
thatisnrhowitwinbe
when you leave p u r mother
b Live ammg &angem.

Daughter dear, you mnt deep

until lunchtimeanymore.
yareIbe standig in ths amefs
h i i i your tsars.
T'eset: d m r f s l Oi chl to z vohnyou, chi z poloomya palaye?
Mode: do hexachord
Meter: 4H 3 4
Oii YH TO 3 mrwo, YH 3 nonym name?

Sunq by Mrs. Anna Zwozdesky

krgust7,1997
Edmtntm, Aberta

3
%l Ha
Chi M
Y O - A O - b
mo -b -dee
a - t I 0 - M
ZQ- b
d+(dLlb
b y vee-rrek
d
W8
I
-
I
Ya
- t?
YS?

LthatfromalCI.,
or from a Mate burnhg?
Or is th& the wreath w h i i b shining like
Qdd on the ya~ngma#en?
Tone s e t s. d r m f s
MUCJO:da pentachord
Meter: 4/4 Sung by Mrs. Jean and Mr. Gaage
Bidniak
mythm s e t f fr July 19.1997
Kbndifce Breaidast
.St A d m w s .ah

0 I am a dark haired be-,

Oark as a gypsy!
That is why 1 have fallen
for a dark haired

oitmrsipdyoubih That is why I have fakn k~

Eevanka. ta Eevanka! Johnny, b r Johnny!
VrsdriytastrOOnkiy, He's tall and strong.
viookiy ta strmldy, so tall and &-,
SorochkavishivMka! with his embroidered shii on!

nptcm-,
and arddb up with my big &tree.
l lnever leave again,
never bave,
Mver leave my bw again!
Tcmesets. d r m f s l Beedna naimlchke
Mode: do hemchord 6i/ma H B ~ ~ M H ~ B
Meter: 414
Sung by Mrs. Katie Zibravrski
m y h m set IJP July 17, 1997
Thorhikf. Alberta

Ohowinfhewdd
the senrant-girl suffers,
and no orre p b s ,
na cares far her.
Na dovho, na Who Forabrrg,lmgtime
M e s h pratsyowati, you wiP need bwak,
Ayaktinezmdmsh but what happens when
tdm dnia vstavati? ylw can't get up that day?

s when your hands

Well that i
wili freeze k the cdd,
The sun hasn't risen
and thefie taken to cursing w.

Dezh tak davtro boda Andwhywasthe-wife

haspodink v hayou? in the orctwd so long?
Vzhe na tebe draoha Anattrer job is already
rob& chekaye! waiting tor hec.

Derhtakdavtroboda Andwhywrizsthehouse-wile
hospodinia v ham? in the orchard so bng?
V z h na tebe droaha Thereisanatherjob
robota chekaye! waiting for her ake%dy!
Tone set: s. ( d)r m f s I 0 Ookrayeeno, 0 ltuba nenlco FdkEwng t 7 6
Mode: do hexachad
Meter: 414 0 Y~paUml0 motk ~ ~ S I ~ K O ! Sum by Mr. Meroghw M u m

1
yse -- -1no! 0 mo-6a
O m - v a
H W ~ - K ~
nen'-kd
TO-6i rip
To* veer --

- 6 an-
 Tone set s,t. d r m f Okh vi zh moyee pyrohe, vl meni ne vorohi
Mode: h i a n
without ia OX, BH x u & n ~ p o r ~ , d n e ~ o p m - I t 7 7
Sung by Mrs. Nadia SMkoski
July 8.1997
EdmmbDn- Alberta

Akh. vittr mo -y w pi - ro - hi!

w
&-no s a ~ h --lo( dc-nt, ny, i TC - m. lc - m, TC - -rwl
KO - b vas bi teef - k' sees -
ti, noq as yeus- ti, yea- ti, pes- ti!

Adr. there y a are

~ my pyrogies!
You are nd my enemies!
M Ihave bdousitdam.
and eat, and eat, and b e d

/m sac i K,- Yeeli vas em M1 The cossacks enjayed eating pyrogies-

taSc ........t w i m ~ w tai...,..hydaki. So did theif lbtahoarsmen.
TIM sac i m i i m m ~ ~ ~ , Yeeli vas ee haidamaki, So did ttwse nationalInsurgentwarriors
nirwi~~~~pH6HiiPa)(H! leepshee vi yak ribiee raki! against fhe fish and the bbsters.
 Tosreset €d .r m 0,khto, khto Mikdaya lywbit'
Mode: do tetrachard
Meter: 4 4
0 XTO, XTO M n ~ d
m m Sung by Myroshw Muzyka
July 10,1997
Mmarton-Atberta

V
TO - MY - - A MH - KO -nak I ~ - ~ c R - K & YBC
~ ~ ~ ) - ~ a - n t h !
To - moo svya -
tey Mi - ka - tai po vsya - kay chas po - ma - hai!

-- la!
hi!

Variants fwnd in Lysko indude highlyornate versiars which encase the given version, at W42,6743. as
web as a new I* wittr the same encase m b d v at 46748. A mekdic sh'hritv at #6901.
 Tarreset: s, d r m f s Peeshov deed na hribi
Mode: do pentadmd B na rpn6n
~ I ~ K I&A
Meter: 4/4
Sung by Mrs. Nadii Shwaikowski
July 10,1997
Ednwntm- Alberta

fli - w r r nin TPH-m, ba-6a Ha 0 - n e m - d

Pee - shov deed na hri -
bit ba -
ba na - o - pen' - ki!

Zvariv deed na obeed
hribeev p n o o miskbo,
Baba svayeekh apen'ochkeev
zvarih azh brhkool
Gcandfatherwentattheaadcddarm,
Grandrndbr went abr eating brealdast,
Grandfather brought back a sackful, while
Grandmather a whde ghss.
Grandfather cdted his up for dinner,
andgoawholebavlfull.
G ~ cadced up her
~ morek,r
and was left with a small sptmnful.

Grandfather ate up his mushroom,

andfinisheditdfwifhagbssdwater.
Grandrrbdbr is left crying because her
hunger mn't leave her.

A migrant verse b kund in Lysb at 15695.

 Torreset slt d r m f Poveeyav veeter stepovey
W e : itanian
Meter: 414 ~OB~R csenoenA
~Bh e p Sung by Nad-k Shwaiiki
July 8.1997
M m o n h , Alberta

-
rn
Po
-
-
si
vee
-

-
-
n
Re si-rep-me-rr,
yav vee- ter sbe- po
- --
u-
US&,
vey,

v
m n o - M - m - - na
va
tll
sya po-Mu'- li - - la.

s4o - K) a -- w,-m44
- -
vbo - you tee cho vey &ee lets,

em6
Vpav

l%ewind Mew off the steppes,

and bend the grass in its path.
A sharp-r from the Cassadc
-
Encampment Seech fell in battle and his
girl was blt in sonow.
 Poyeekhala batm v lees'
Toneset s t t d r m
Mode: hian Mihcana 6a6a e nic
(wiUm.~tfa)
Sung by Mrs. Katie Zibrawski
Meter: 414 July 17,1997
Tbrhild. Alberta
Rhythm set: :>

- -- lees, -- lees!
u
-
be3
Bez
a,
so -
m
16 -
p,
n. bez
KO
ko
nic. -3
bez
KO
ko -- bes,
nic. 6e3 KO
ko
nic!

Baba went into the woods

Zachph baba v pen',
baba v pen', baba v pen'!
Tam sideeh tseeley den',
tseeley den'. tseeley den'!
lia, k,k..-
Tam sideeh b e l e y den',
b e l e y den', tseeley den'.
without an axe,
aldwittraRwtreels.
(without a productive purpose)
She caugM herself ar a stump,
on a stump, on a stump,
and was forced to stay there ali day,
there all day, there all day.
k lia' .-.--
r
and she was faced to stay there all day,
there aII day, there all day.

Then ban came and untangled her, freed her.

and got tangled up in t
h mess she made.
Preyshh Baba do Pans.., Baba went bthe hndbrd (thekrd)
Porivab- Eevana..... to cunphin about the treatment she gat frun Ivan.

A Pan Baba, posadiv...... &st the hndbrd (the krd) sat her down,
-0k bodcee~bBo0d-N .... and fined her focty whippings as well.
0,Baba, and that is nrdall.
don't go making trouble where yau aren't needed.

Cultural nde:
Although this selectiarr has its h u m , the sang QOW back at kast 80 the days d ssridom, when wuod was scarce and women
rmuld go into the woods and by to carry wood out under their dresses. In this case, the woman tried b cany out mare than she cxluld T i
arid got caught in a trap dher own designing. h pdng bamplain bo the &d about seemicrgty unkindtreatment, the lord found out
- -
where she had been scavenging firewood h his prfvab hnds and that c& her a beating. This is a mall, fragmerttiuy exampk of why
tfienrshbCanadawassourgentkrsanedthepbnesrs-andwhythsy~~ctKlsekushandm#dedhnd,versusthebaid,
untreed prairie hnd that was chosen by pioneers hwnather arrntries anivhg in Canada in the late 1800's and earfy 1900's. Meny
p*-r -
n e i g h b laughed at the Ukrainian immigmnt choicrrs rot undsrsWmg the extreme need kw firewoad that had led generatkms
d sedk En Ukaineto break hws and threaten the&very lives by pdng arb theh hndkd's lands kr w a d and game. The earfy.Ubainian
Ckmdm i pionser knew that, no rrratter what dher dimcul!ies they would moounter b h i r new hanehnd, wooded propertiesguaranbed
their own supply d tire&, and at bast aome wild ganm. They would survive.
 Po toi beek horn
Toneset m f s l t d r m f
Mode: illdm no rod4 6 i ropa
~ Sung by Mrs. Jean and Mr. George Bidniak
Meter: 3f4 July 19,1997
Kkndike Breakfast
St Andrew's Selo
wmrrrtm Alhnrta

beek droo - ha,

0 that isn't a star!

s my dear girl,
It i
She is going Rr water
with a brand new pail,

Ogirldmine,
water my horse with #e ice cdd water
from the well,
with your new pail.

When I am ywrs,
I &dl water yaur horse twice.
Illevenwakittothe
quiet waters of the Dud river.
Veen v d i ne pye, That one doesn't want water,
Impitam ne bye. he has no hooves.
Sberezhisia deevchbcmko, Watch out girl because
veen bebe zabye. -
he is a hreat he'll hurt you.

tfhedoesirinme.
there will be rm a o r ~ a y v ,
since I have a yaunger &tar,
and she can be yours.

What do I care about lpur sister.

Sheisndyoul
She won't take me - a young hawk
hhorhnar)mu~r~ihavn

Cuttural nc&: Imagery assodated with water, the new pa& fresh water from the weU, can afl be seen as innocent and pure, but an
hordmate intwost h Umae images in the mngs M i the s I g n i d these ideas in bcubre. ?k image d a hcrse aIso appears in
fsr too many fdk songs to overbdc Harse (accordingtr;, Orysia Tracz dthe Unbersity d Wunipeg) consistently(esgecialty in the
mgs) refers to f h i in the male damein, Images invohring Watering the k s 8 ' are generally associated with sexual rehbns.

Varhnts are kund h Lydro at #3U89,8211,8487,8723,8437,8601,8692, lyric with new melody at #1899,4142,4612,5834,
5890,6150,7530,7902,8695,8702,9507,9881,7694m,7697'- 7he mbdymtrikrtsdby the BidniaUs is a soering,walk time
mekdy whereas many d the Lys'koexamples are dhowbe.
Timeset d r m f s l
Mode: do ttexachud
Meter: 6/8 Sung by Mr, BiIl Labatiuk
July 31.1997.
Sherwood Park- Alberta

C H - H a l
Sii -na!

All aver ttre world,

Ali aver the warid traveaed the qood news!
The Most-Pure Vugin,
The Mast-Pure Vigin b e a Son.

When she b e Hun,

She wrapped Him in swaddling dothes.
Wm some green hay,
Made himabed in the manger-

When the Hebrews.

When the Hebrews heard.
They chased the Mather d God,
chased a h r the M d w r d Gad to catch them!

When the m r d Gad,

When the Mother d God heard abart this.
wm Jesus Christ,
Wrth Jesus Ctuist she escaped to Egypt!

Vteekala zh vona. She escaped,

Vteekala zh v m a cherez c h i pde She escaped over some char fields.
PomahaiBeeh gazdo, tard help you, hndkrd!
M a i 6eeh gazdo na p s M i k # , orati! Lad help you, in your piawirrg f a the wheat!
PomahaiBeehgardo! Cord help you, hndkrd!
m.
6eeh gazdo M pshen'khkoo orati! Lord help y#r, in your p m g for the wheat!
Syahodnee mesh! Today you will plaw!
Syahodnee seeyesh! ZhWa boodash zhati! Today yw win seed! T Q C ~ Y KY#I~ ~will
Wb e s t !
Just don't tell!
Just don't tea t k m the Mother of God went herel
JUS~ donr tell
just c h ' t ten that the M&er d God went here!
When the Hebrews,
heard about this!
They chased after the Mother d God,
b catch Jesus ChrisK

They searched and chased!

They searched until the Cand was ripped to shred
While there in the field,
there in the 1Se# farmers -re hanestingW a t l
Pomahai Beeh gazbol L#d h* yw,LandImJl
PomahaiBeeh gazdo p s h e n ~ rzhati!
r ~ L#d help you, in harvesfhg y#rr wheat!
Oi chi eeshh st ta, Did the Mather d Gad,
Oi chi eeshh s' ta ta bzhaya Mati! Did the M&wr d God travd through here?
Oi eeshla. eeshh!
Oi eeshh, eeshh m - y veeter veeyavl
Yak yad tswyar,
Yak ya at tsyaryar pshenicherrkoo seeyav!
Toneset l t d r i m Hive, plive sive pywrtse
Mode: turkish phrygian mum, nnnse CME nmpue
Meter, 2/4
Sung by Mr- &i Labatkrk
Rhythm set: d .'A 1b Jufy 31,1997
Shermrod Park. Alberta

- - ha- -!

The sisters have all gobn bogebr,

kclttrer isnY there1
Hey, ha! The brdher is nd with them!

Cul;tural nde: Ukraine A Chcise Encycbpedia Vd. 1 p. 344Elements d Re-Christian Religion and the Peopleb V k w of
-
Ufe - l h People's V i w d Death by V. Petrw indiites h t Death is regarded as a departure,a kcal disphcenrent into
space. The dead p e r m is believed to go out into the water, inbP the earth, a to paredise: dependingan his desti~ijor~,
he 'goes away', 'rests', 'rides awaf (vWiudyV),'Ities ziwf (vidliWe). Wrth such a wnceptbn d death the funerd ribs
which devekped r e M e d deparbrre into the earth, M m g away on the water and lntothe water, and flying away b
paradise. The andent Saw pmcthd all d these types d funeral rttuafs; the path d the dead car# be by hndor by river,
and the p b d the dead was the upper r e d s d the river or the interior at the edh.
-
Based on this irnpressian of death thb mtains dements Mlch are very dd htime.
Tdneset d r m f s l t d '
Mode: b i a n
Met%r: 4/4 Sung by Mrs. Katie Zibrowski
July 17.1997
Thamild. Alberta

Ee h o - b
-bMh
- -
- W
Ica
YO-
mo-ya
R rw,
po
-
-
a-mi
a-vee
-
-
-
-
4%
Ye.

The tkne wi4 came and the gkn will be green again-
But my dear man mi1have forever gum m y -
And my head wiU sbwty turn grey.
and the fire h my eyes wlll &ever fade away.
 Proschayous*deevchino Z toboyou m b g# 87
Toneset: r m f s l t dr'm'
Uode: k n i i
Meter: 414 Sung by Mr. Geage and MrsJean Bidniak
July 19.1997
St-&drew's Seb
Edmontm- Alberta

m - qa-m o
zhi - TH
ti scha-stya o

I am taking my leave d you dear heartl

Taking leave, o heart 04 mine.
God d-kl not grant us good torhrne
bhebDgettterwiththisbve.

Our days passed in happiness,

we were happy then.
Now 1 must have Cor the hamehnd,
andyouwillbekl'therealam.

I bved y#l,b e pu now, will forever lave you,

in w h a b v dk-
~ rout life takes you.
1 wil! never ever krget yuu
my angel d g o d futune.
 Reve ta stohne Cheepre shirokey
Tonesetr I t d r m f s r t d '
hhde: a e d i i
Peee ra cmrm minp U I H ~ O U H ~ ~
Sung by Mr. Myrosiaw Muzyka
Meterr 6/8 July 10.1997
Edmontm. Alberta

ro-pa-am4
h o - r a - m i mi - lyw pid - ee - ma!

The Onipro river is roaring and groaning,

an angry wind is fiercely blawing,
the tan willows have been bent bby the wind, and
the waves are r i ttre heiaht d mountains.

Variants fwnd in Lysko at #7640,and 9211.

The tyrics d ttri song are written by the poet Tams Strevchsnk~~
oansidsred a hero of the Ukrainian PWb.
Only h e first verse d the poem were &ered by Mr. Muzyka.
 Rozpryahab khloptsee konee
Tmeset m I t d r m f s l Pompmafin xnonui uoni -=%lwm
Mode: aedian
Meter: 4 4 Sung by Mrs. Jean and Mr. George Bidniak
Juty 19.1997
~ l ~ t h m JJJP
s t st Andrew ~ e &

h-npn - rat4 - re u~wr - ui KO - ~i T a m -

RQZ-prya - hai - te khbg- bee &-nee. ta &a -

rn - Te CClO - - w - -,
hai - & s90 - - chi - Vat'.

KO - nmb!
b * par!

Sheisasmallishone,
wm~sge*
with ruddy hairb herwaisf
wSth a skv Mue ribbon in her hair.

This sorrg is kund in Lyra S

um 1982 p. 356.
 Rosti, rosti cheremshyno
T'e set s, d r mf Pocm, pacm rlepemMlco
Mode: do pentachord Sung by Mrs. Katie Zibmwsiri
Meter:4/4 July 17,1997
Thorhild. Alberta

PO
Ro
-
-
,
sti,
pac
ro
-
-
m ue
dre -- pew
rem
-- UM
shi
-
- no.
HO -

n P a I 1 - I

-II
4'
A

I
I
I
I
1
A I m
1
I
I
I
rn
I
I
I
i
L
F
I
I
I
I
0.
I
Tw
Ti
u o - m - A a
mo - b - da
A h - ( H
deev - chi
-- Hacb-
m' - -
KO
ko

Theytufedarmorrebamade,
theathertheytcueapaR
They took me by the hands
and led me into God's mrt#.
Toneset s,t, d r m f s l
Mode: imian Sung by Mr. Bill Labatkrk
Meter: mixed JuIy 31.1997
Rhythm s e t A, ; Shewood Park, Alberta

ne
Pe rd-dooreechkm do deev - chi- ni na tsyarmecb

Variant kund in Lysko #7013,7399,8820,8871.

 Seeyav moozhik proso
Cins nryxnlt npoco
Male: ionian
Meter: 4/4 Sung by Mytoslaw Muzyka
July 30,199'7
Rhythm set: J > Ednmbn. Alberta

-
Ci FIB uy - m c npo
See-yav m z h i k pro
-- co,
so.
*-w ua-rre.rra~!
ka ka -zhe mak!
zheen
xk-Ka
zhem ka
Dm-me,mK!
ka -zhe mak!

t
I
I I I I I
Ok faK, '(H He TaK. w -xa$i 6 y - ~e snpo- ca m!
Oi, tak, chi ne tak. ne - W b o o - de r p r o - sa mak!

Dapav maxzbik r i m . The husband caught a fish,

zheenka kazhe rak! his wife said it was a crayfish (kbsber).
refrain: O i tak.... refrain: Okay, have it your way!

Kyrwe Y w m K rinellb, K w i v m i k tseepets, The husband bought a mwnan's

xili~a Kame CaK! zheenka kazhe sak! headcovering, the m a n said it was a
np-s: 04 mu....... refrain: Oi kk....... mwnan's coat-cape.
refrain: Okay, have it your way.......
Koopiv moottrik shtani, The husband bought some trousers.
zheenka kazhe frak! the woman said a frodc!
refrain: Oi tak........

Variants found in Lysko #985Sm,similar lyric with new melody at #7ir29,lyric and melodic variant
m,9069.
Toneset d r m f s l
Mode: do hexachord Sohiasno speevaymo
Meter: 414
Cornacno cnimQvo
ee - sti - -my
Vesek poskachte
ee beel'she ne phcMe
Nai Eesoos mladanets'
peede z nami oo tanets'.
Od n e b s pislaney
ee Rechistoi Pani
Sin Bozhey vopkti
plache mezhi skotini.
Ee speeshno hlyadeef
v o ko4 sfaneet'
Ee v troobi zahraite
z anhelamispeevaite!
Slato, Iian, smirnoo,
mladantsyou nam mimoo,
yako Tsaryou veekoo
Bohoo choiareebl
Teper zhe bezpechno
m i eede konechno
hromada pastooshok
vo Vielyem youdol<l
Cultural note: During the Christmas season,the mtributw, as a child, spent the vast maprity of her time
- -
as an only child at home, The feast day was a happy tim h e n the greater family specifically the
child's aunt - opened her home to share tfre holidays. This is a special song, that NS learnedduring these
s ~ e c i adavs
l durina the times soent with irer aunt
Sung by Mrs. Nadii S h w a i i k i
July 8.1997
Edmton,AIberta
nas ra - di razh -d e ~ ney!
Together and loudly, let u s sing!
Let's greet Jesus!
This is God. eternal,
who is born for us.
Jump and dance happily.
and do not cry anymom.
Let Jesus, the rnercibf
come to dance with us.
He is sent from h e a m .
A pure virgin woman,
bare this Son of God.
who now cries here inmis cattle shed.
Hurry to cune and see,
and stand around in a circle.
Phy on the horns. and
sing with the angels.
Rejoice. Mary, for
from the east have come kings,
fdkwing the star they cune,
bearing Him gifb.
Gdd, frankinsense and myrrh.
for the mercifulone. our love,
for the King of eternity.
themanwhoisGod.
Now it is safe,
m it is vital
that the community of shepherds,
go to the Bethlehemd the Hebrews.
 Sokolom streelyaye, kt88v btm toodi
Tbneset m f s l t dr'mmf 4wsong#%
Mode: ionian COKOJWU ,C- mtf~
6 n ~
Meter: U4 Sung by Mr. and Mrs- Bidniak

S o - k o -bm be- ta - ye, b - b v .hh lm-dii!

n - +' rn

I
5 \ I I A
I 1 V I "I I C m
I
I
I
1
1
t
T I
I
I
I
I
I
1
I
I
I
P
I
-
1
3 i
Tau ae uo - rr Y( M
Tam de rno - ya mi - la & o r - p a - p

Tau.
Tam
TY
tm
- A H
- di
ne
le
-- teev
ris W!
bim!
Tau,
Tam
TY
3m -- LIH
di
ne
le
-
- t~w ive

" &!
bim!
Tau
Tam
~y
e00 -- m
di

The m g k fliets, sowing.

neerds fiy away,
to the place his dear girl
iahkky water (at the wsll).
I would like to tly there!
like to fly there!
ImrrM like to fly there!

1 came t~ her,
and spdce with her!
And held her the
kimy heart!
And her heart sang like a bird.
And her heart sang like a bird.
kad her heart sang like a bird.

Vryatavrodd-, Rmmrs in her hands,

preyshh do shlymbm! ~camebthemtddiig-
Riveev ya dadomm, Iicdcherhane.
tai lekche zdiklmoov! and sighed contentedly-
Teper ti vthe m! W w yw are finally mine!
Teper ti vzhe moya! Nolw you are f i d y mine!
Teper ti vzhe mop! bhnr y#1 are fineAy an mine!
 Torreset: msi Itdrrn SOY&' yaveer nrd vod0y0u
W e : ham#rrii minor
with no fa w BOAOW)
Crorta ~ e l p Sung by Mr. Bill btmtiuk
Meter, 4 4 July31,199?
Sh8mmd M. Alberta

I
KO
1

- 3 a ~3 a - x y -
- 7 -- -
-
-
-
-
-
-- sya!
CR! 6 -
-
CF~!
LO - zak za - z h o o riv sya!
The sycamore maple is standing
leaning aver the water.
The cussack is afso standing,
Mnying about something.

He XHRHCR flmpo~b~o. Ne khilisiayavorm'ko. OonY worry, o sy~amaemaple,

m ue s e n e n e ~ b ~ a !
He W k t C R KWaWHbKY.
TM i&2 U O ~ O A ~ H ~ K H A !
ti sche zelenen'ka! you are still green.
k khootisia kozachen'koo. Ckrr't WOrrY, young rulfiudr,
ti sche mdoden'kiy! yar are still young.
Ne rad yaveer khiliisia. The maple isn't accustomed to bending,
voda h e e n ' miye! but water has washed away at its roots.
Ne rad kazak khoaitisia, The cossack doesn't want to worry,
ta serden'b neye! but his heart aches.

Pdeteev bi v M a y e e m , I'd fly b Ukraine, and d

ie there -
tai tarn des'zahinoo. butm
Svoyou reednoo Odrrayeenoa I must leave my homeland
~ v e e kpokinoo!
i and d
ie forever in exile.
Kazav sobee visipati He asked that we sift wt a
visdrab mohibo, tall grave m n d for him.
Kazav sobee posad'i b plant a high bush cranberry
vhdcrvakhkalinao. aver his head.

-
Cultural note: Tht water again is a symbol d b e - the kind d kve that sits deep in hiwul deetp in hi roots. The
cranberry has lmg hem associated with images d Ukraine ,yet in this sang, the birds have not eaten the frui they -
- -
have eaten the lbwer lhey have plundered even the ganl intentiars nd evan alkwing the productto fk~~rSshbo -
-
bear fruit. The man in the song dies never ' M n g ' the truth never having m p l e t e d his earthly task. It is undear
-
whether this is only a personal relatiorrship a ballad associated with the chivalric wde or whether this is a d h e r veiled
'oatriotic' m a .
Variants found in Lysko at #4345,460?, 4608,4609,7750,7924,7941,7942,7943,8135,812118021,8022,W 3 ,
8024,8341,9393'. 9288,9710.
 Tmset 8, d r m f s l Tam nr home kroots vGdlll
Mode: dobrachord
~ e t 3e4 ~414 ~3 TW w r o ~wym
f wm Sung by Mrs. Kbbir flkowski
July 17, I997
Rhythm-t JJJ)) Thatrild.merta

n
1
A*
F
I
1
u
!I
I

- *
I
1
1
I L
I
I -
wn
m

-
u

na!
I1
1
I
I
I
I

Tau
Tam
Te
b -
6w-rpa
bis-ba
rr
w - da!

- ya. rn - b da!
There on a hill is a waked W r .
%re the water lbws swittty.
mere is a Mdck haired girl.
wau3bi &id'+'i?g.

Yak pohliane bibim akom.
yak sia mib zasmeeye,
TOarh sertsyar lehshe stane
A v kotaka sertse bye.
When she imks at you with her keen eye,
rtre smiles so grachsfy.
So that the heart gets lighter,
and sets a otssadts heart beating-
Our girls are aI kwtjful.
they all have thek hair put into lang braids.
Bkre eyes. Madr brows.
andskinas pureandrrhiteasmdk

A A 6 i ~ ~ aqxmwa,
wi I, however am an aphan,
myua r wne piandi 6par. the rvilds are my own kath.r.
6ypcca. u 6 n s~ c pa,uuna,
~ The pistd and sword are my-,
a~inb @TO uiii cma~. and the hocse b my f a h e r - W .

Variants found in Lysko a! #9448.9249,9450,9644, lyric with mother wbdy a #9164.

 Tam M home sneeh beetsn'key
Toneset s.I,t d r m f
~ a d e :imii Tau m ropi cdr binemmi4
Meter. 314
Rhythm set f j3. )
fle
Parnyatayesh ti. korache,
yak tia vzyali Mveenoo?
Yak ti bachish moyee sl-i
schoyaphchoozatobyou.
Ti na voynee vzhe z a h i m
ee dodomoo ne preydesh.
Napisah list do mene
scho ti v hrobee vzhe lezhish!
Sung by Mrs. Katie Z b r M
July 17,1997
Thahild. Ubsfta
fle
Le
-- m
rhff
- )rolrra Qe!
- e:8 yde!
On the hill the snow is white.
h the valley the rain is falling.
A cossack lies in his grave,
and his mother appraaches-
Do you remember. young cossack,
wtien they book yar to war?
Do you remember. haw many tears
I cried then, kr yar?
Naw y#r have perished in lhe war.
and will not return to our home again.
They mote a letter to me saying
that you already lie in this grave.
You've left your brother at hame.
as weR as w r young sister.
Icanmlypraylorlrou -,
SkK# yar'll never return h o m again.
 Tocleset s i t d r m f
Mode: &tian
Meter: 4 4 Sung by M i a Shwakasld
Juty 8,1997
Rhythm sat: ;3 Edmantm. Alberta

Tan-ulo-aa-
-
Tan &you va - - M
li
~n
mi
-- uii
stme po b a - b i - n e e hi-zhes!

ha
Sta
-
-
no
b
Q
ba
-- 6'
bee
Sl
za
Ta
ta
-He&,
- nets, 37-JW
ryse- E
a - 6
b4 - b e e
~Y-%~-)(ouL!
boo- h-neb!

Sane mice were dancing

at baba's house, fike predatay animals!
Thsy stopped dancing for a moment.
and ate dl d baba's baking (fresh baves).

Cxahmynacb ba6a Sktrarnenadas' baba 0aba was startkd and taken aback
uo ~ e w a
6y~a~a. acho nerna bmkhana. that all her baking was gone.
-
Taii novynu ronocm. Tai pochadi, hdcrsff. Ekw the mice heard her lament.
ripci MH 3 web n m ! heerkee sl- z ochei W! and saw the bitter tears she cried!

-
Cuttural note: As is the case in most rural-3asedMksongs, Ws one carrks a moral: or a lesson, usually intended lor
-
children to understand if they identifywith b e baba and the mice. In other words, children shaild n d eat aH the baking
-
whik mother is in ttre garden waking. And m a more pracfical Me, anyone taking food a d especially in h e primitive
hunes of thepioneer days, should remember to put it safdy away so that wild animals arenY tempted io enter unbidden.

Variants: fhe song lyrics are farnd in Lysko # 4781, hawsvat, the rnebdy is nd at all simihr. This is considered by
Lysko to be a Children's m g .
 Trxleset: si l t d r m f s
W e : harmonic m h Sung by Mr. Bohdan and Mrs.
Meter: U4
Rhythm s e t : '>: M i i i n a Lena Tataryn
July 17. f 997
Thmhw. Am&a

I
Te - d. m - ua!
te - be ne - ma!

Y
mi - - HY na! ni - ee - M!
Peed - ma - no0 h! Peed - ve - la!

v - MY -
Tux u e - ~e uo - no - AO- m 3~ - a.
zoo- ma
3p0
ao -- 3y 3-
me -
na!
la!
Tuh me-ne mo- b -do-ho -mob

You promised that m Monday.

we mru# go gathering periwinkle (for a meat')!
I came there and you didn't come!
Yau seduced me, deceived me,led me astray!

You pmmised that on Tuesday.

we cwld kiss forty times!
I came, and you didn't come! .,
Yar pramissd that on Wednesday,
mt ~ l drive
d the herd together!
I came and you didn't ........
You pranised that an Thursday,
we would go together for a wak!.....

You promisadthat on hiday,

we warid go together tb b e street partyi

You promised that on Saturday.

we carld do the chores together!

You pranised that or\ Sunday,

we could go to ths wedding bgeUwr!

Yau said that yar were going tb die!

I buiM an oak cross!
I came. and YOU'RE ALIVE!
 Tmesets,t, d r m f
Mode: i o c r i i
A yak yo - ho kosh-boo-va- ti?
Nasha W i a doozhe rrmdra!
Sposobac, deebrah!
Oo toy dzbanochok voorenMy
khvostika vmacbala!
OT, xe n36a1iuaHe 3BanHna. Ot. rhe &tanka ne zvalib.
3pobma adawo! zrobila obachno!
Tenep x mmrae, Teper khvostik vityahaye.
dnmye- CWL(HO! -
obtiooye Smachno!
Sung by Mrs. NadhShwaWdd
July 8,1997
Ne vbe-db ho-bv - &a!
In the pitcher there is milk.
But what a trick this will be!
And how do you get to taste it
wfwn the head won't fit the opening?
Our cat is very srnart!
She has a solution.
lntnenanowmajbaihe piicirer,
she just dipped her tail!
And, having not tipped the pitcher at dl.
she did the job safely!
Now she gently pulls out her tail.
and licks it dean. Tasty!
 Oo horakh karp.t.kh
Toneset: s, d r m f s l d '
Mode: do h e x a w d Y ropw ~ a p n a r u
Meter: 444 Sung by Mrs. Katie Zibrd
Rhythm set: .> July 17,1997
Thomiid. Alberta

Oo ha-rakhKar-pa -takh,d tam bi ya rhiil

- -
I 7 1
I I A I I
1 1 1 P I I I
I A r I P I I
w I t 1 I
f
I
7 ~a
M
ao - nn
d o - l i
-
-
MY
m
R
ya
6ma
bim
-
-
ar
sya
1~1-ml
di-vkrl
Tau
Tarn

rrraru
ptash
-
-
KH
ki
cni
spee
-
-
n
va -- m n
ywt'
ne
le
-
-
re*
hen' -- KO,
ko. use
Y
ab
-- kha.
)<a Xa!
kha.
A
a

- -
--
V
ro noc a, nin KH T?UI Tau
ho - ks so-peel ki tam choo - ti sch - dnya! Tam

In the Carpathian rrrauntains,

oh!if I lived there.
I would kdc darm from there,
and see everything.
refrain: The birds mruld sing, laughing saunds,
oo ma, kha,
the voice d the sqifka flute
would be heard everyday!
00hotakh Karpatakh In the Carpathian mountains
deevchata yak mak. girls are as beautiful as poppies in bbm,
speevayarP, t a n t s y o u ~ they dance,and sing, kqether.
ee vse v d i n takt! all an one beat!
refrain: Tam ptashki....... refrain: The birds mxrld sing....-
Y rope K a p ~ r a x 00 horakh Karpatakh In the Carpathian mountains
raw m a m, tam sosna raste, spruce and pine trees grow,
Tau 3 - n n ~~ x y c c e . Tam zeelya pakhaoche, Fragrant herbs grow,
pymnew ueire! rawnyanets tsveete! and lovely chamah Mawns!
np-B: Tau maurru ....- refram: Tern ptashki.,..-. refrain: ?he birds mwld sing.,..,,
 Tmeset d r m f s l d ' F d k m g t 103
Mode: do hemchard ~ P U 6~Jlm
P@ ~ Y ~
Meter: I/LZ Sung by Mrs. K a b Zbmwski
July 17,1997
Rhythm set: f ?. b) Thahild. Albsrta

The farmer farms in b e summer.

he pkws aH arwnd.
but in the winter he phys cards a of
'hda'
-
with his wife the farmer's wife-

Farmer v * i s ki.i~iW,% T% k r ~ b r
rm b! ! ! -summer.
ee pshenitsyw seeyee. and seeds the -at,
a zirnoyar kdo pyetsa but in the winter he has to heat his backside.
seve uadao hreeye. against the stove.
Farmer v leetee farmeryouye The farmer farms in the summer.
ee hotod sapaye, and hoes the garden,
a zimoyou peed pirinoo but in the winter he cuddles with hi wife
farmark00 v beernaye. under the feather quit

Farmer v Leetee farmeryouye The farmer farms in the summer,

ee kaari reezooye. and daughters the chidcens,
a zimoyou sveethett yaitsee but in the winter he preparesfresh eggs
na prodazh reekhbyw! b sell.

Farmer v leetee veze yaitsee The farmer lakes the eggs b town b
du meesta prodati. sell in the summer.
ee beehaye z yaitsyami and runs arwnd with the eggs
vwd khati do khati. from house b house.

The women say thatit is b c d d

Ee talc veedtak famrariska
rhittya veedprcrvadit?,
Yak na yaitsyakh ne zar-
bo sche eee si(r) prodaye!
to stand aut in the cdd.
Ifyar have big q g s , hen
awne into tlw house.
And since than the farmer - dsar dd f e b ,
has led his life hiis way.
If he hasn't made enough on ths eggs.
then he also sells (the cheese).

C u b r d W: It should be obvious that this humorous song Q a rural kak at sc&l relatimships. Ihs farmer needs b make a living.
but like the door to door salesmen, many tales have arisen about e d y what product is being paid lor. The k t verse in partiwbr
hdds the exact status of the business relationship (as well as the produd/senrica)in question. 7he smg is just a r i naughty.
The game d 'hda' is a simple card game much like 'go lish'. and requires very tittk skill. The questiorr arises whether one has any
aces or tens,the point cards. It one has none, you are ccnsidered 'baremor 'hala'. It is interestingthat the game is never 'he is
-
h r # thrr name *Ithrr ~ n w kr 'dm ist hamm.
 Tone set: s. d r m f s l
w e : do hexactrord
Meter: 214 3 4 414
Sung by Myroslaw Muzyka
Rhythm set .f3 f
J u 10,1997
~
Mmmtul.Atberta

3 ~ e - 6 a
-
o r - e nc - n a , a-~m -- ta -
- m Ibc-ua lspac-w! Pa-A@
m be sya-ye yas - na, ta-vm fa ia Pas-ka b a s - na! Ra-dooy-

Te
te
-
-
C3l ULH:
sya schr- ro
PO HH
ni -
- nee.
HI.
80h dav scha - stya vess ro - di - nee, &#I dav

n I

i= "-
&*I0 ...
n
I
-
I
=ye -1
ra deed nam Me bes!

XPH -CTOC 64~-

I
KP~C! xpbl-CI#: &C -- KP~C!
Khri - stos Vas- kres! Khri-stos Ves kres!

Christ is arisen! Christ is arisen!

Jay has shined on us from heaven,
and greeted us with the beautiful h k a l
Repice greatfy, everyone!
God has granted good fortune an each fam17y!
God has broughtjoy to US from heaven!
Christ is arisen! Christ is arban!

Cultural nde: The Paschal lamb imagery is said to cane to Ubaine via the
Greeks, and accepted in the Ukrainian tradition. Hawever. in this hymn, the paska
-
may not refer onfy to the braided Easter Bread a msatbss &ring. The raasm
kr this tenuous opinion is that ihe paska bead bd<s very much like the bop d a
ka'ded and decarated woman's head. One mnders if this bread is mmehow tisd
-
Ba the oaaan rituals associatedWith surkra and tertilitv r i b .
 Tamset I t d r m f s
Mode: asdm
Meter: 3 4
Rhythm set Ijf
A - tie ma
Ya - - ne ma
Oi veez'moo ya kreselechko,
Siadoo krai veekontsya,
A sche ochee ne dreernali
A vzhe sktrod'i mtse.
Khochdreemaite. ne dreemaibe,
Ne boodete spati.
Des' poyeekhav mee milenkey
Eenshoyee s h h t i .
Variants found in Lysko t8548, lyric variant with new mebdy at M250.
Sung by &an and W g e Bidnhlc
July 19,1997
St AndreWs Seb
Edmantm. Alberta
- C
- - ye!
The teren bboms,
and the l b m r falls off.
Who has not known Love.
that person has known no sorrow.
I am a w n g gid,
but I have known SQCOW.
I hadn't fested enough in the evenings,
and nights left unsiept.
Illtake my small chair
and sit beside the window-
My eyes hadn't even dreamed yet,
and the sun was rising again.
0 dream on. dream m
but these eyes mwr't sleep-
MY W n g man has gane,
bfind b e with anather girl.
 Mode: la hexatmic
Meter: 4/4

rpo
tm
-- R
ya -
w
ka!
l

Ma - na A U Y - r C a rli A - Ka!
Ma - h ya m o o - z h a P e e - Y a - ka!

The Red Rose has tirrm petals,

I had a husband. a husband I had,
1 had a husband who is a drunkerd.

fie dcns nothing but drink,

He oomes hame. and beats his wife.

Don't beat me,husband, don't punish me,

PI1 kave your children, $0 bo the river Doaclai.

And when she sat on the boat,

she waved her white kerchief.

1 1 kt kme my m n ' s braid, wer my back.

And cry bitterly, and frequentfy.

A red rase, but a whits h m r .

Why did you. husband, tie up my entire life.

Where are you sleeping, husband,

thatyar kKmhawmychildrenaykrme3

Variants fwnd in Lysko #46!53.,8053', 8054,8206. lyric with new melody at lt10429.

F. Kdessa indicate$ that was cdkGted in Zskarpattia (Trans-Carpathh)a region d the Carpathian mountains agein -
are of the paxer economic regions from which the first immigrants to Canada departed. A noQble difference is the
-
-
Trans-Carpathian dialect notated accurately in Lysko.
 Toneset r m f s l
W e : hian

I 1 1 I

-
I I

r+
I
m
1
1
1
1
I
I
A*
F
I
I
I
I\
U
I
I
I
I
I
I-
I

I.
I
1
I
1
-
1
)
d
I

I
I
I
-
A
I

eJ
a, *. " XI
r
JW
zem
-- ne
le
1-
uo-rr
mo-ya
-mu
tak
m-&i
Ipu - ba

Chorn. chom, zem - te m-ya cha-rm-ye

K p a - c a m
tak me - ne kra - sa - tvo

why do I lave you IK,my hnd?

Why, o my land, do yar enchant me so,
Why, o my hnd. does your beauty
enchant me so,?
Chim. chim, chirn m a n W mene Wrth what magic do you entice me so,
prashney boyeyee s9eev. the smg d your birds.
dooshistey tsveet ieeseev? the pungent Rcmers d the West?
a i m . chim, chim manit mene Wth what magic do you entice me to
bodiya straoy tvoyeekh sEho tad p h e ? see he waters d your stream which I b v on and on.

aazrwh p r e y bet!
-
Tim, tim, bjm ditino mai
bo twt ti vpershe sveet

T i , tim, tim d i i
bo vodi ee tee kesi bee reedney kai.
wrth this thought, 0 ChM,y w should know.
that here you saw the light at ywr first day.
With this thought, o child. y#r should know
that these waters and these mrads are your
hanehnd.

Here your befathers be*e y a ~

poured out their Moad
kr faith and fr-I
Here, o child, lie all your noamst,
and dearest family.

Mr. Muzyka intimated that this m g was frequently a favorite which was eas~dylearned by t!w eartiest immigrantchildren because the first
repeated word d every verse m h o w sounded funny and diirent bchikiren whose schod language was already m g English. The
fist verse far example beains with h e w a d &om.. and this word in Western Ukrainian shna is used for 'kiss' h&O@d

Variant kwnd in Lysko with another lyric f73.30'.

Tamset: s,t, d r m f s l Chornee ochka, chornee ochka, yrk ttren
Mode: ionian Sung by Mr, Bohdanand Mrs.
Meter: 214 MirchafinaLenaTatitrvn

t ( a p - ~ i w4-m.
-
ChQ( nee och ka, -
w-
chm-rme
Hi m-rra
0 t h - ka yak
te
bb -- -- pe~!
ten!

- - WH!
Chor - nee och - ka
RK
yak
TB
te -- pet+,
ren,
RI(
yak
TB
te - pe~.
ren.
RK
yak
te
te - ten!

-
-- nwa -
--
-
-- peu.
KO MH CR no 6e m - b e peu?
Kd luh mi - sya po - be rem, po -
b e - - rem?

Dark black eyes like tfw bbckttrorn bush.

When will be get hitched (married)?

Welt get hitched (married) on Sunday.

This is my kpe!

Where will y#1 lead me to rie

if you have no house d yaur own?

1 bad you badbrhQmO,

until I build my arm.
FoIksong #I 10
see #15
 Toneset s, d r m f s l t d '
Mode: hian Sung by M W n a Lena
Meter: 6/8718 Tataryn
July 17,1997
Thamild- AIberta

n
My
Shoo
-
-
m
mit'
m
hai
3 e - n e - ~ m i , ury
re - le - m y , shoo
--
- me
Ta ai-6po-%e,
ta dee-bro-va, shoo
ruy

-
I n 1 7
I
I m m L m I --/ I1
1
I I I I 1 I r I' 1
I I I I I I I I I
t II I 4 I I
- MHT~
mit' hai
3e
ze
-
-
ne
le
- ~ufi.
- ney,
ury
shoo
-
-
m:
rnit'!
C K ~
Ska --

KH
zhi
YC~
me
-
- ~i
nee
MH - ~leyH G ,
- scho
UIO
ma y w r o - b i t i ko -
mi

- - u a -
-- K ,
m ue ~i UH n~h, uo p o - ( h r - T H KO
zhi me - nee mi - ley, o&l ma y
w r o - b i - ti ko -

w
nn we - ~e scep - tie - nm?
li me - ne vser - tse bo - lit?

The leaves in the forest are rustling,

the leaves whisper in the clearing,
the leaves whisper, rustling noises.
Tell me, my dear (man) what
am Ito do when my heart
starts hurting so badly?
Do eenshoyee khodish, Y w walk to see others.
a z mene smeeyeshsia: and laugh about me,
sctro ya pdyoubiia tebe! about how I loved you so well!
Eedi her veed mene. Get away from me,
stwmkai sobee droohool and find some other girl!
A ya ne zabocdm tebe! But Ican never forget you, all the same!
Deevchim'ka mih, Oh girl of mine,
moya chmdwka: my dark haired beauty:
ya beel'sh tak rob# ne hoodoo! IS1 never do that to you again!
Tebee ya pdcinoav, Iadmit, Idid leave you,
a znovoo vernoavsia, but naw I have returned,
ee v e e m lyoubiti boodcm! and Iwill love you faithfully from now on!
 Toneset m.si, I t d r n ' m
W e : brrkish phrygian Sung by Nadia Shwakski
Meter: 9/8 July 8.1997
Rhythm set: ,), 3 Mmantm.Uberta

Ya-
firin,
heel, Ya
fl -- hoe
ri -
- -m-~a!
bch - ka!
fl
Ya-
-ren
-h.l
-- o -ra-
o va- - doch -- ka!
LIO~ ~a!

y
oo
- c ~ a-
- sta -
M
h ra -
-- ne
ne - sen' - ko,
KO. mm- na - c x n
-
vmi h -
sya bse -
-- ne -caw
b mn'
- KO!
- ko!
Yaheel, rRtle Yaheel, daugher of Yaheel.
Ross early one morning,
washed far face dean and white.

Yaheel. Yaheekchka! Yahekwa dachka! Yaheet, I ' i Yaheel, daugher d Yaheel.

Hdovcmkw chesah. She mbetd her hair,
s,.&,b- C- _..-
b y
+id .-- i p
n

Yaheel. Yaheekchka! Yahekwa dochka! Yaheel. IHk Yaheel, deugher d Yaheel.

Kveetochki dbrafa, Gathered ibnrers
veenochki zapleetala. and made wreaths.

Yaheel. Yaheekchka! Yahekva dachka! Yaheeh liWe Yaheel. daugher d Yaheel.

d -
Vzyahsia p ~ e e bdci Put her hands on her waist
pakazah skoki. and dancsd.
Yaheel. Yaheekhka! Yahebva dachka! Yaheel. little Yaheel. daugher d Yaheel.
Na vcdiiyou veyshla Went to a street party
yak zeeron'ka zwshb. when evening stars cams out

Yaheel. Yahwkcfika! Yahebva cbchka! Yaheel, I ' i Yaheel, daugher d Yaheel.

Peeshh vzdovzh Doonayar - Waked abng the river Dunai,
tam ribon'ka hraye. and danced like the fish in the water.
Ycrheel, Yaheekchka! Yahelova dochka! Yaheel, l i i Yaheel, daugher c4Yaheel.
Viben' sobe deevchinoo Choose which girl mi be purs,
yak chervonooyou kalinao. pretty as cranberry Mossams.

Measures 3 and 4 are found in variant form in the Lys'ko cdbdkm (Wurne 5, p. 151) at -5
- -in msasures 7 12.
The m e W i fragment is encased In a song h m Striy, Halychyna (Garcia) one d the origin& b c a h f r m w h ~ e
-
ths first imrniaration to Canada axuned.
 Mode: iollian
Meter: 4/4 Sung by Mr. MyrPdaw Muzyka
July 10.1997
Wmonh- Atbefta

I - m - -1 I
w - T O JXO-LU~B-KH!
-i no~
--
Cuo- nw KH ~a flHiiuo6pa~mb~ ma!
Smo -li bosh - ki ta to yee dcxheeu ki! Psi-mo brat-tya vse do dna!

A crystal goblet with a sihrer lid,

whether orre drinks or not,
Ws all the same.me dies in the end.
In that world CYI heaven), they don't
serve whiskey. nor beer nor wine,
just some tar and rain water, so...
b t s drink what we have.
fmys,down the hatch!

Variant in Lysko at # 10952'

 t114
Tmeset s,t, d r m f s l Sung by Jean and George Bidniak
Mode: h i a n July 19,1997
Metetr: 4/4 Kbndike Breakfast
Rhythm set J jJ ,h

RK i -wre R 3Jle-bpe-w-na m - - q.
Yak ee - shov ya zDe -
bre -
chi - na do - do - moo,

mait - ma ue -- nee
~i W - = ' Ky-pa JW - PO -- W-
may - shb me w - na koo-ra do - ro hoo.

I - nu, i - m
-
W-Ha ~ y - p a n oA
-
O -
- W.
Ee - di. ee di d m - n a kao- ra do do moo!

When I travelled hame

from Debredin,
a black chicken
showed me the raad.
Go on black chicken,
90-1
don't bother
anyone m the road.
Yak peeshav ya z Debrechina When I travelled to
do Khoa6t00, Khust from Debrechin,
Znayshov lem ya I found an
vishiiarooyou khoastoo, embroidered kerchief.
Oi. chi mila. I can't tell whether
chi ne miloyw shih, it was beautifully made ar not.
Lem bi m a , just that it was
brn hi msr vichivarrru*rrrI hila an embroidered one.

Cubral note: It is interesting to note that this song antains many elements d tiw dieled a s d t e d with ttrelernko or
-
Boyko region d Ukraine an area w h i i straddles the Carpathian mountains. The dialect is very 'mountain' , and
contains unusual carammatical fonns.

Variant in Lysko #10702'

 Fdksarg # 115
Sung by Mrs. Katie fibrowski
July 17.1997
Thorhild. Alberta

Yak me-ne li shish Ya sia bez be - be o - bee - doo!

mc R 6y - m- W-pfr -a R ~8 3mx- HY!

Yak me- ne ii shish. tak ya boo - dm! Ne zhoo- n - sya ya nezdokhnod.

;T ay- ua - ow uo TH 'smart?. A LCIO rn m - 6i 'start=?

Ti doo - ma - yesh scho ti 'smrV. a Mto dav b - b e 'sW?

Tu we-ui naxew'yau go-ing a -wa)r! F1 m - 'thafs o -- kay'!

Ti me-nee kazhesWyw -
go ing a - way!' Ya ti ka -zhao 'that's o kay!

chorus:
I you leave me, then mats haw it will be.
I will do just fine without you.
K y m leave me, then that's how it wit! be.
Don't worry, I won't die without yw.(vulgar reference)

verses:
She: You think that you are so smart
but who do yw think gave you your start?
You tell me you are @ng away!
I11tell ycu right b a d , that's okay!

He: You keep telling me that I am a ratten husband,

but your father r i s around making hay!
(another vulgar reference)
You mother works hard. she makes good pyrohy,
but I don't care, since it has nat rubbed df on yw!

TH~8 wpm mi ~ O I W ~ B ) I ti ne moth mnee hdwi She: You don't try to confuse me naw*
R m y B CKWI-TCHU( Ya ne eedoo v pketiiu' (stop muddying the waters with your doubb talk)
h mi 'muddle' T ~ m Kanada
h ee rn muddle I don? like playingfamily p d i i l
rqm '~uddle~ u d d w .Havrib robe Fuddle Duddle. The wtide a( Canada can wdc, s w h t and fair. ( no one
needs to be).
but you Havrib (everyman), have to 'Fuddle Duddle'