c and even into modern Jazz.
Ukraine found itself at the crossroads of Asia and Europe and this is reflected within the music in a perplexing mix of exotic melismatic singing with chordal harmony which does not always easily fit the rules of traditional Western European harmony. The most striking general characteristic of authentic ethnic Ukrainian folk music is the wide use of minor modes or keys which incorporate augmented 2nd intervals. This is an indication that the major-minor system developed in Western European music did not become as entrenched or as sophisticated in Ukraine. However, during the Baroque period, music was an important discipline for those that had received a higher education in Ukraine. It had a place of considerable importance in the curriculum of the Kyiv-Mohyla Academy. Much of the nobility was well versed in music with many Ukrainian Cossack leaders such as (Mazepa, Paliy, Holovatyj, Sirko) being accomplished players of the kobza, bandura or torban.
In the course of the 18th century in the Russian Empire court musicians were typically trained at the music academy in Hlukhiv, and largely came from Ukraine. Notable performers of the era include Tymofiy Bilohradsky who later studied lute under Sylvius Leopold Weiss in Dresden, his daughter Yelyzaveta who was a famous operatic soprano, and Oleksiy Rozumovsky, a court bandurist and the morganatic husband of Empress Elizabeth. The first dedicated musical academy was set up in Hlukhiv, Ukraine in 1738 and students were taught to sing, play violin and bandura from manuscripts. As a result many of the earliest composers and performers within the Russian empire were ethnically Ukrainian, having been born or educated in Hlukhiv, or had been closely associated with this music school. See: Dmytro Bortniansky, Maksym Berezovsky, Artemiy Vedel.
Ukrainian classical music falls into three distinct categories defined by whether the composer was of Ukrainian ethnicity living in