end. The use of parallelisms is widespread, epithets are standard, the use of specific numbers is also widespread. The use of archaic forms of language is also popular as is the use of retardation. Musical characteristics Melodic characteristics The melodies of dumy consist of repetitive recitative-like passages on one note, changing to a different tone with a lingual accent, usually stepwise and occasionally by a 4th melodic recitative-like with falling scalic passages melodic closed and semi-closed cadences with characteristic melisma a zaplachka based on the word "hey" often very ornate with many melismatic features paralleling the stylistic features of the melody. a slavnoslovia (verbal glorification) at the end of the piece. A summation of the work which in some regions is spoken rather than sung. Almost all traditional dumy from the Poltava and Slobozhan traditions use a Dorian mode with occasionally raised 4th degrees and subseptatonium. The raised 4th often is used as a secondary leading note to the dominant. The appearance of the augmented 2nd between the 3rd and 4th degrees gives the duma an Eastern-sounding flavour and is used by the performer to add "zhal'" (pity) to the work. Accompaniment Dumy are traditionally sung to an instrumental accompaniment, usually that of a bandura, kobza or lira. In the Slobozhan tradition, the bandura would play most of the notes of the melody with the voice apart from chromatic accidentals and melisma with occasional chords on I, IV, and V degrees of the Dorian mode. The instrument would also be used for instrumental preludes, interludes, and postludes. In the Poltava tradition, the instrumental accompaniment is much sparser with the player not playing the melody but rather occasional chords based on the tonic and dominant of the Dorian. In lira accompaniment from Poltava, no melodies are played with the voice during the performance of the duma. Melodic instrumental playing is confined to preludes, interludes, and postludes. No transcriptions or recordings of authentic duma performance by members of the Chernihiv tradition have come down to us. Discussion regarding other traditions of duma recitations has shown a significant amount of contamination in the 20th century from non-traditional sources which has rendered many of their recordings atypical and unauthentic according to the traditional style in which the kobzari performed dumy. See also Preservation of kobzar music References Clegg, D. “Philaret Kolessa’s Classification of the Ukrainian Recitative Songs” Studia Musicologica Academiae Scientiarum Hungaricae 7 (1965):