Belarus Arts and Music

Belarus Arts and Music


Over ten centuries of Christian history have led to the creation of an iconographic pictorial school in Belarus, a meeting point between the Eastern Byzantine and Western Roman Catholic traditions; but the amateur activity of master craftsmen (such as the painter M. Savitskij, the sculptors Z. Azgur, S. Selikhanov and others) mainly contributed to the development of the figurative arts, whose works were dedicated to the internal market. According to globalsciencellc, the peculiarities of their works derive from this destiny: the decorative geometric character, based on symbols and closely linked to the traditions of the country, and the often zoomorphic forms especially of the sculptural works of authors who mainly carved wood, a very widespread material given the woody character of the territory. Me too’ Belarusian architecture reveals the influences of the country’s history. In fact, several buildings show their own styles and cultural contaminations that are structurally combined with each other, or strong signs of the dominant knowledge. For a long time the Baroque was the prevailing style: examples are several Catholic churches such as those of Nesvizh, the first Baroque structure of Belarusian architecture, of the Jesuits in Grodno (17th century), of the Carmelites in Glubokoe (17th-18th centuries), of the cathedral of Peter and Paul in Vitebsk, and as many palaces (of the Sapeghi in Rugiany, of the Hreptovici in Sciorsi, of the Radzivilly in Nesvizh). The Orthodox churches, on the other hand, were built mainly in wood according to the dictates of the most precious traditional carpentry. In the sec. XVIII elements of the Byzantine style appeared on the Baroque system, giving rise to the period of monumental architecture that led to the construction of many monasteries, town halls and residences, before the advent of Soviet regime architecture.


An important musical tradition characterizes the culture of Belarus, where numerous Orthodox hymns and sermons of the century originated. XII, where popular music descends directly from sacred ceremonies, developing from the century. XVI onwards to become famous all over the world as well as the most renowned in Eastern Europe. In the sec. In the 18th century, the private theaters of the magnates and the chapels were the elective musical venues, but already from the beginning of the following century the echoes of the municipal orchestras resounded in the big cities. Belarusian classical music dates back to the 10th century. XX when several schools and public conservatories were opened (1918-19), such as the Conservatory which later became the Belarusian State Academy for Music and the Opera and Ballet Theater, both in Minsk (1933). After the Second World War, the figure of the musician A. Bogatirev was distinguished, teacher of numerous modern composers, such as E. Glebov and V. Soltan, while towards the end of the century. XX emerged authors of sacred music works such as L. Shleg, V. Kopitko, A. Bondarenko, M. Vasiuchkov. Today the Camerata group has a high level of fame, author of music and lyrics, specialized in “a cappella” singing.


Belarusian language, Belarusian language, Belarusian language, Slavic language, belongs to the East Slavic group of Slavic languages with the Russian and Ukrainian languages.

Spoken by around 9 million Belarusians in Belarus (official language there), Russia, Ukraine, Kazakhstan, as well as language minorities and others. in Poland, the Baltic republics, as well as in the USA and Canada.

Script: Until the October Revolution of 1917, the Belarusian language was mainly written in Cyrillic script, but also – v. a. on Polish and Lithuanian territory (which is in part linked to today) – written in Latin script. With the October Revolution and orthographic reforms, Russian Cyrillitsa became the norm.

The writing is largely phonetic. Some Russian letters are missing from the Belarusian script. They are either replaced by their own letter combinations or an apostrophe. In addition to the Russian script, there is the letter y ̆, which is used for non-syllabic [  ] after vowels before consonants or in the wording.

Phonetics and Phonology are characterized by the Akanje and Jakanje, d. that is, in pre-tonic syllables and in almost all unstressed syllables for a, e, o there is always [a]; o and ë occur only in stressed syllables, stressed e often alternates with unstressed a, yes, which is also expressed in the spelling: pará, plural pory “time”, kon ‘, gen. kanjá “horse”, sljazá, plural slëzy “tear”; further through the Dzekanje and Cekanje, d. That is, palatalized d and t result in soft affricates: dzeci “children”, cëply “warm”. The other consonants mostly have palatal partners (p: p ‘, b: b’ etc.) B. š, ž, č and r always hard. Many consonants have long variants. The doubling of consonants often resulted from the connection of consonants with j and is also expressed in the spelling. The g only occurs in foreign words. Prosthetic sounds often appear, such as v- before the initial o and u as well as i- and a- before consonant connections: vus »mustache«, vosen ‘»autumn«, irvac’ »tear«, aržany »rye-«. Retroactive consonant assimilation after the vocal tone prevails, and final voiced consonants become voiceless. l and w become [ ], written y ̆, also u after vowels and before consonants.

Morphology and syntax are very similar to the Russian language, but there are simplifications in the declination of the consonant stems on -en, e.g. B. semja, dative semju instead of old semeni “seed”. After the numbers 2, 3 and 4, the counted nouns are in the nominative plural, but often differ from this by the emphasis. After prepositions, there is no inserted n- (z jaho »from him«) before the third person of the personal pronoun. The short forms of the adjective are rare. There is an intact past perfect.

The dialects are divided into four groups. Except for the Polesje dialects spoken in the extreme southwest, characterized by okanje and hard consonants before e and i, there is a northeastern and a southwestern zone, which differ in phonetic and morphological peculiarities. Features of these two large groups are united by the group of Central Belarusian dialects with the center around Minsk. (Belarusian literature).

Belarus Arts and Music