PHILOSOPHY OF VYSHYVANKA IN THE MUSICAL CODE OF UKRAINIAN CULTURE: COMPOSERS’ REPERTOIRE HERITAGE AND NATIONAL MASTERPIECES

Abstract

The article examines the musical code of Ukrainian culture as a tool for acoustic representation of ethno- identity, in which intonation formulas, rhythmic structures, and modo-harmonic means function as symbolic elements of cultural memory. A comparative analysis of the structural features of Ukrainian embroidery and a musical work is carried out: both systems are characterized by modularity, symmetry, variability, and semantic load. Cultural and philosophical parallels between ornament as a visual text and music as a sound form of a national archetype are traced. The author addresses the phenomenon of synesthesia as a universal mechanism of intermodal cultural thinking, which provides a relationship between timbre in music and color in embroidery, the emotional function of a work of art, and the mental perception of a symbol. In the context of the analysis of the repertoire heritage of Ukrainian composers, the emphasis is on such figures as Stanislav Liudkevych, Mykola Leontovych, Myroslav Skoryk, Yevhen Stankovych. Their works are considered as examples of national musical thinking, in which acoustic elements are permeated with ethnocultural content. Special attention is paid to the phenomenon of "Songs about the Rushnyk" by Platon Maiboroda with lyrics by Andrii Malyshko — a song that has acquired the meaning of an acoustic symbol of Ukrainian identity, where the rushnyk appears as a carrier of emotional memory, and the musical form as a means of its transmission. The article also analyzes the manifestations of Ukrainian cultural semiotics in the choral, symphonic and instrumental repertoire, in media art and ethnodesign. By comparing vyshyvanka and music as parallel systems of cultural communication, their role in preserving the national code is substantiated, especially in wartime. The work is interdisciplinary in nature, combining methods of cultural philosophy, musicology, and art history, which allows us to deepen our understanding of the mechanisms of identity representation in Ukrainian art.