PROMOTION OF THE CHORAL CREATIVITY OF THE COMPOSERS OF THE “PEREMYSHL SCHOOL” AND THEIR FOLLOWERS IN THE UKRAINIAN DIASPORA
Bibliographic record
Abstract
The relevance of researching the works of representatives of the “Peremyshl’ School” (Mykhailo Verbytskyi, Ivan Lavrivskyi) and their followers (Viktor Matiuk, Porfyriy Bazhanskyi, Sydor Vorobkevych, Yosyp Kishakevych) stems from a desire to understand this phenomenon within the world cultural space. The purpose of this study is to explore the prevalence of choral works by these composers in the Ukrainian diaspora. It has been established that these works were a factor in the preservation of Ukrainian national identity and were promoted outside of Ukraine from the end of the 19th century and throughout the 20th century. The study traces this process across several countries (Austria, Czechoslovakia, Poland, Italy, the USA, Canada, and Great Britain), as well as through specific choral groups and conductors. Attention is given to the performance of works by representatives of the “Peremyshl’ School” and their followers during the celebration of the 1000th anniversary of the Baptism of Kyivan Rus’-Ukraine. The research methodology is based on a combination of general scientific and special art history methods, in particular historical-cultural and phenomenological. This methodological approach allows us to consider the popularization of the composers’ work as a result of the efforts of representatives from various fields of musical art (conductors, choir members, musicologists, and critics), defining the cultural and musical practice in emigration as a phenomenal phenomenon. The scientific novelty consists in the comprehensive coverage of the resonance of the “Peremyshl’ School” in the world on the basis of little-known and new sources introduced into scientific circulation. Conclusions. The revitalization of the choral heritage of the “Peremyshl’ School” composers by the Ukrainian diaspora in emigration was a factor in preserving national and cultural identity, a manifestation of the indomitable spirit of the Ukrainian people struggling for independence and freedom, and a means of establishing their presence in the world cultural space.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.002 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.004 | 0.004 |
| Scholarly communication | 0.003 | 0.001 |
| Open science | 0.000 | 0.003 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".