The Ukrainian Bandura: Typology and Regional Features

Abstract

The article examines the Ukrainian bandura as a dynamic constructive and performing system whose development cannot be reduced to the instrument’s name, external shape, or regional designation. The relevance of the study is determined by the need to clarify bandura typology within the interaction of the traditional kobzar milieu, the academic stage, music education, factory production, and individual instrument making. Based on the works of M. Lysenko, H. Khotkevych, A. Humeniuk, I. Zinkiv, M. Khai, V. Kushpet, S. Lastovych-Chulivskyi, I. Skliar, A. Omelchenko, V. Mishalow, V. Dutchak, L. Cherkaskyi, L. Kyianovska, R. Hrynkiv and other authors, the article defines the main criteria for distinguishing bandura types: body construction, shape and position of the neck, number and function of bass strings and prystrunky, radial or parallel string layout, tuning, diatonic or chromatic organization, retuning devices and transposers, playing position, distribution of functions between the hands, sound production, repertoire, pedagogical practice and social environment. Special attention is paid to the relationship between the kobza, the old-world bandura, and the academic bandura, as well as to the Kyiv, Kharkiv, Poltava, Chernihiv, Lviv, and diaspora lines. The study shows that chromaticization, retuning mechanisms, factory-made models, and individualized concert instruments transformed not only the technical resources of the bandura but also teaching methods, posture, fingering, texture, timbral ideals, and repertoire priorities. Emphasis is placed on the Lviv school of Vasyl Herasymenko, his constructive experiments, Kharkiv-type models, and contribution to the professionalization of bandura art in Western Ukraine. The article argues that bandura typology should be interpreted in historicalconstructive, performing, and music-pedagogical dimensions, since only this approach connects the history of the instrument with the analysis of performance, education, repertoire and modern constructive solutions. This approach avoids reduction and treats the bandura as an open system of tradition, education, and innovation.