Guitar activity of Ukrainian physician Mykhailo Polupaienko

  • Viktor Palamarchuk postgraduate student, Ivan Franko Lviv National University, Lviv (Ukraine)
Keywords: guitar technique, history of the guitar, Ukrainian guitar school, Russian guitar, Mykhailo Polupaienko, Mikhail Polupayenko, Johann Decker-Schenk.

Abstract

Ukrainian guitarist Mykhailo Polupaienko's persona is investigated in
order to make creative profile of this musician. To achieve the objective was
collected biographical data, repertoire and composers portfolio, information
about connections of the guitarist with other musicians. Contemporary guitar
handbooks and photos of the musician and his colleagues were also subjects
of investigation in order to figure out features of his guitar techniques.
Hypothesis about dr. Polupaienko's fingering principles were proposed,
along with definition of general stylistic direction of his repertoire. Lot of
attention were put to design peculiarities of his guitar, analyzed hypothesis
about origin of the instrument and luthier identity. It is proven based on
collected data that dr. Polupaienko belongs to school of J. Decker-Schenk,
Petersburg's guitarist of Austrian origin. Specific features of guitar technique of J. Decker-Schenk's school and it's representative dr. Polupaienko are
discovered. It is perspective to further investigate pieces and arrangements by
dr. Polupaienko as it will help to detect features and peculiarities of his
composing approach.

References

1. Gitarist-virtuoz s diplomom vracha. (2012, March 28). Retrieved
from http://sobitiya.com.ua/news_full.php?nid=11438
2. Decker-Schenk, J. (1892). Self Instructor for the guitar. Part. 1. S.-
Peterburg; Мoskau: Jul. Heinr. Zimmermann. 42 p.
3. Decker-Schenk, J. (1892). Self Instructor for the guitar. Part. 2. S.-
Peterburg; Мoskau: Jul. Heinr. Zimmermann. 32 p.
4. Zharov, A. (2012, July 30). Kholernyi bunt v Iuzovke. Donetsk: istoriia,
sobytiia, fakty. Retrieved from http://infodon.org.ua/uzovka/931
5. Zaiaitskii, S. (1902). Internatsionalnyi soiuz gitaristov: Soobshcheniia
Internatsionalnogo soiuza gitaristov za 1900–1901 g. Moskva: Tipo-litografiia
A. V. Vasileva i Ko. 260 s.
6. Zmeev, L. (1889). Russkie vrachi pisateli. Tetr.5. S.-Peterburg.
7. Yablokov, M. (Ed.). (1992). Сlassical guitar in Russia and USSR.
Biographical musical-literary dictionary reference of russian and soviet guitar
personalities. Yekaterinburg: «Russkaya entsiklopediya». 2018 s.
8. Niprokin, Y. (2002). Etiudy o gitaristakh Odessa: Druk. 165 s.
9. Rossiiskii Meditsinskii spisok (1873–1902) S.-Peterburg. Various.
10. Rusanov, V. (1913). Shkola dlia semistrunnoi gitary. 2-e izd. Ch.
1. Tiumen.
11. Edelman, O. (1904). Forma gitary. Gitarist, 7, 4–6.
12. Edelman, O. (1904). Forma gitary. Gitarist, 9, 14.
13. Ana Vidovic Interview. (2011, March 03). Mel Bay`s Artist Interview
Series. Produced by R. Haines. Retrieved from
https://youtu.be/rHEccPivH9U?t=336
14. Decker-Schenk, J. (1908). Pièce de salon. Augsburg: Freie Vereinigung
zur Förderung guter Guitaremusik. P. 2.
15. Miner, G. (2014, January). The Harp Guitar of Boris Perott. Retrieved
from
http://www.harpguitars.net/players/perott/harp_guitar_of_boris_perott.htm
16. Polupayenko, M. (1986). Fantasia on Zaporozhye Themes. The
Guitarists Repertoire, Vol. 7. Columbus, Ohio: Editions Orphée, Inc.
17. Tyler, J., Sparks, P. (2002). The guitar and its music: from the
Renaissance to the Classical era. New York. 348 p.
Published
2019-07-31
How to Cite
Palamarchuk, V. (2019). Guitar activity of Ukrainian physician Mykhailo Polupaienko. Scientific Collections of the Lviv National Music Academy Named After MV Lysenko, (44), 130-142. https://doi.org/10.33398/2310-0583.2019.44.130.142
Section
Panorama of music research and interpretation