Alla Zahaykevych. Biography
Alla Zahaykevych is a Ukrainian composer who has participated in many international festivals of contemporary music in Ukraine, France, Sweden, Japan, China, the Czech Republic, Lithuania, Canada, Germany, and Poland. She is the author of numerous musicological articles in academic collections and journals both in Ukraine and abroad, and has received many grants and awards.
She combines work in academic concert genres (symphonic, chamber, electroacoustic music, chamber opera) and in contemporary multidisciplinary projects (audiovisual installations, performances, music for films and theatrical productions). In electroacoustic performances, she performs with performers of new improvisational music.
She studied at the Kyiv State Conservatory in the class of Professor Yuriy Ishchenko (1985-1990) and at the Institute for Research and Coordination in Acoustics/Music (IRCAM) in Paris (1995-1996). From 1986 to 1999, she was a member of the band "Drevo" (led by Yevhen Yefremov).
Since the mid-1990s, she has actively promoted academic electroacoustic music in Ukraine and collaborated with experimental electronic music musicians. Since 1998, she has been teaching at the Department of Music Information Technology at the National Music Academy of Ukraine, where she founded the Electroacoustic Music Studio with the support of the International Renaissance Foundation.
Alla Zahaykevych is the curator of international electroacoustic music projects "Electroacoustics" (since 2003), "EM-vision" (since 2005), and the head of the Association of Electroacoustic Music at the Kyiv branch of the Union of Composers of Ukraine (since 2010). In 2004, she was awarded the Oleksandr Dovzhenko National Prize of Ukraine for the music for Oleh Sentsov's film "Mamay."
In 2009, she founded the international project Electroacoustic's Ensemble, where she performed as a composer, programmer, and performer on electroacoustic instruments.
Alla Zahaykevych is the author of symphonic and chamber music, chamber opera, electroacoustic and multimedia works, music for theater and cinema, and music for dance performances.
She combines work in academic concert genres (symphonic, chamber, electroacoustic music, chamber opera) and in contemporary multidisciplinary projects (audiovisual installations, performances, music for films and theatrical productions). In electroacoustic performances, she performs with performers of new improvisational music.
She studied at the Kyiv State Conservatory in the class of Professor Yuriy Ishchenko (1985-1990) and at the Institute for Research and Coordination in Acoustics/Music (IRCAM) in Paris (1995-1996). From 1986 to 1999, she was a member of the band "Drevo" (led by Yevhen Yefremov).
Since the mid-1990s, she has actively promoted academic electroacoustic music in Ukraine and collaborated with experimental electronic music musicians. Since 1998, she has been teaching at the Department of Music Information Technology at the National Music Academy of Ukraine, where she founded the Electroacoustic Music Studio with the support of the International Renaissance Foundation.
Alla Zahaykevych is the curator of international electroacoustic music projects "Electroacoustics" (since 2003), "EM-vision" (since 2005), and the head of the Association of Electroacoustic Music at the Kyiv branch of the Union of Composers of Ukraine (since 2010). In 2004, she was awarded the Oleksandr Dovzhenko National Prize of Ukraine for the music for Oleh Sentsov's film "Mamay."
In 2009, she founded the international project Electroacoustic's Ensemble, where she performed as a composer, programmer, and performer on electroacoustic instruments.
Alla Zahaykevych is the author of symphonic and chamber music, chamber opera, electroacoustic and multimedia works, music for theater and cinema, and music for dance performances.
The text was created by experts from the Galician Music Society: Lyubov Kyianovska, Teresa Mazepa, Natalia Syrotynska.
Source: Wikipedia
Source: Wikipedia
Алла Загайкевич. Біографія
Українська композиторка, учасниця багатьох міжнародних фестивалів сучасної музики в Україні, Франції, Швеції, Японії, Китаї, Росії, Чехії, Литві, Канаді, Німеччині, Польщі. Авторка численних музикознавчих статей у наукових збірках і журналах в Україні та за кордоном. Володарка багатьох ґрантів і нагород.
Поєднує роботу в академічних концертних жанрах (симфонічна, камерна, електроакустична музика, камерна опера) та в сучасних мультидисциплінарних проектах (аудіо-візуальні інсталяції, перформанси, музика до кінофільмів і театральних вистав). В електроакустичних перформансах виступає з виконавцями нової імпровізаційної музики.
Навчалася в Київській державній консерваторії імені Петра Чайковського в класі професора Юрія Іщенка (1985–1990) та в Інституті дослідження й координації акустики/музики (IRCAM) у Парижі (1995–1996). У 1986–1999 роках була учасницею гурту «Древо» (керівник Євген Єфремов).
З середини 90-х років активно пропагувала академічну електроакустичну музику в Україні, співпрацювала з музикантами експериментальної електронної музики.
З 1998 року викладає на кафедрі музично-інформаційних технологій Національної музичної академії України, де за сприяння Міжнародного фонду «Відродження» заснувала студію електроакустичної музики.
Алла Загайкевич є кураторкою міжнародних проектів електроакустичної музики «Електроакустика» (з 2003), «ЕМ-візія» (з 2005), головою Асоціації електроакустичної музики при Київській організації СКУ (з 2010).
2004 року за музику до фільму Олеся Саніна «Мамай» була нагороджена Національною премією України ім. Олександра Довженка.
У 2009 році заснувала міжнародний проект Electroacoustic's ensemble, де виступила як композиторка, програмістка, виконавиця на електроакустичних інструментах.
Алла Загайкевич є авторкою симфонічної та камерної музики, камерної опери, електроакустичних і мультимедійних творів, музики до кінофільмів тощо.
З середини 90-х років активно пропагувала академічну електроакустичну музику в Україні, співпрацювала з музикантами експериментальної електронної музики.
З 1998 року викладає на кафедрі музично-інформаційних технологій Національної музичної академії України, де за сприяння Міжнародного фонду «Відродження» заснувала студію електроакустичної музики.
Алла Загайкевич є кураторкою міжнародних проектів електроакустичної музики «Електроакустика» (з 2003), «ЕМ-візія» (з 2005), головою Асоціації електроакустичної музики при Київській організації СКУ (з 2010).
2004 року за музику до фільму Олеся Саніна «Мамай» була нагороджена Національною премією України ім. Олександра Довженка.
У 2009 році заснувала міжнародний проект Electroacoustic's ensemble, де виступила як композиторка, програмістка, виконавиця на електроакустичних інструментах.
Алла Загайкевич є авторкою симфонічної та камерної музики, камерної опери, електроакустичних і мультимедійних творів, музики до кінофільмів тощо.
Над текстом працювали експертки Галицького Музичного Товариства: Любов Кияновська, Тереса Мазепа, Наталія Сиротинська
Джерело: Вікіпедія.
Джерело: Вікіпедія.
Bezborodko Oleg. Biography
Stefania Turkevych (1898-1977) was born in L’viv, one of the cultural epicenters of Galicia. During her lifetime, Galicia was part of the Austrian Empire, then Poland, then part of the Ukrainian Soviet Socialist Republic. This region bore the marks of Austrian, Hungarian, Lithuanian, Russian, and Polish influence and would soon witness the rise of the Soviet state. Turkevych’s father and grandfather were priests, and her mother was a pianist. Turkevych herself played piano, harp, and harmonium.1 Her prodigious talent led her to study in Vienna (1914-16; 1921-25), at the L’viv Conservatory (1918-19), and at the Prague Conservatory and the Ukrainian Free University in Prague (1930-34). Her early education was remarkably cosmopolitan.
Turkevych’s compositional language is unique.
Although one can hear the technical influence of Schoenberg and can detect certain expressionist tendencies, her music is generally quite lyrical, with occasional folk influence. This is typical of Turkevych’s style: she walks the line between tonality and expressionism—especially in her art songs—occasionally incorporating elements of pointillism and impressionism.
Turkevych displayed an early proclivity for composition. During her time at the L’viv Conservatory, she composed a series of liturgical works for the choir at St. George’s Cathedral, the mother church of the Ukrainian Greek Catholic Church.6 Shortly after marrying the rising Ukrainian-German expressionist painter Robert Lisowski in 1925,7 Turkevych moved to Berlin and studied composition privately with Arnold Schoenberg (1874-1951) and Franz Shreker (1878-1934). Turkevych earned a PhD in Musicology from the Ukrainian Free University in Prague in 1934, becoming the first woman from Galicia to receive a doctorate. Her boldly nationalistic dissertation was entitled “Ukrainian Folklore in Russian Operas.” She is now considered Ukraine’s first female composer.8 Immediately after receiving her PhD, Turkevych returned to L’viv, where she taught at the L’viv National Music Academy (sometimes called the L’viv Conservatory). She maintained this position until 1939, when she began working as a coach and accompanist at the L’viv National Opera alongside her sister, Irina Martynec (an opera singer). It was here that the two sisters met prima ballerina Daria NyzankiwskaSnihurowycz, who would become an important co-collaborator both in Ukraine and on Canadian soil more than 30 years later (for the premiere of Turkevych’s 1969 operaballet, Серце Оксани).
Turkevych displayed an early proclivity for composition. During her time at the L’viv Conservatory, she composed a series of liturgical works for the choir at St. George’s Cathedral, the mother church of the Ukrainian Greek Catholic Church.6 Shortly after marrying the rising Ukrainian-German expressionist painter Robert Lisowski in 1925,7 Turkevych moved to Berlin and studied composition privately with Arnold Schoenberg (1874-1951) and Franz Shreker (1878-1934). Turkevych earned a PhD in Musicology from the Ukrainian Free University in Prague in 1934, becoming the first woman from Galicia to receive a doctorate. Her boldly nationalistic dissertation was entitled “Ukrainian Folklore in Russian Operas.” She is now considered Ukraine’s first female composer.8 Immediately after receiving her PhD, Turkevych returned to L’viv, where she taught at the L’viv National Music Academy (sometimes called the L’viv Conservatory). She maintained this position until 1939, when she began working as a coach and accompanist at the L’viv National Opera alongside her sister, Irina Martynec (an opera singer). It was here that the two sisters met prima ballerina Daria NyzankiwskaSnihurowycz, who would become an important co-collaborator both in Ukraine and on Canadian soil more than 30 years later (for the premiere of Turkevych’s 1969 operaballet, Серце Оксани).