Ukrainian folk music includes a number of varieties of ethnic (traditional), folkloric, folk-inspired popular and folk-inspired classical traditions. In the 20th century numerous ethnographic and folkloric ensembles were established in Ukraine and gained popularity. During the Soviet era, music was a controlled commodity and was used as a tool for the indoctrination of the population. As a result the repertoire of Ukrainian folk music performers and ensembles was controlled and restricted. Ukrainians, particularly in the Eastern Ukraine have fostered a peculiar style of singing which they call "bilyj holos" (literally - "white voice"). This type of singing primarily exploits the chest register and is akin to controlled screaming. The vocal range is restrictive and in a lower tessitura. In recent times vocal courses have been established to study this particular form of singing. Among the most popular exponents of traditional Ukrainian folk singing in the modern era are Nina Matvienko and Raissa Kyrychenko. Ensemble singing in 3 and occasionally 4 part harmony was one of the features of traditional village music in Ukraine. The multi-part singing used in Central Ukraine was thought to have been unique at the turn of the 19th century. Numerous folk choirs were established (Okhmatinsky choir) and studies published of the style of choral singing. It was supported in the Soviet period in opposition to church music, as village song was viewed by the authorities as being more proletarian. In recent times (post 1980s) there is a movement toward authentic ensemble singing particularly in eastern Ukraine with the establishment of various ensembles and festivals there focusing on this style of music. Notable groups who perform in this tradition are Zoloti kliuchi, Drevo and Muravsky shliakh. The first such ensemble in Ukraine was the Okhmatynsky Village Folk Choir organized by Dr Mykola Demutsky in 1889. Ethnographic ensembles became popular in the 20th century. These were usually choirs often with orchestral accompaniment and sometimes a group of dancers. They originally performed works based on the ethnic folk music of the area, however over the past 40 years they have become more academic regarding their performance style and material. In the 20th century, popular operatic singers like Modest Mencinsky and Solomea Krushelnycki included Ukrainian folk songs in their concert performances. Other prominent Ukrainian singers include Ivan Kozlovsky, Borys Hmyria, Anatoliy Solovianenko have also propagated the singing of Ukrainian folk songs and romances. In the United States Kvitka Cisyk also promoted art song. Choral singing has a rich tradition in Ukraine. While the Catholic West developing sophisticated vocal instrumental works, the Orthodox church frowned on the use musical instruments in sacred music and a cappella choral music was the only genre that was actively supported. As a result sacred choral music flowered in Ukraine and it became a prime provider of singers for the Russian courts and Russian orthodox cathedral choirs. In the 20th century notable Ukrainian a cappella choirs have included the Ukrainian National Choir choir, Dumka (choir), Kiev frescoes and Boyan which is the touring choir of the L. Revutsky Capella of Ukraine. Notable choral conductors include Olexander Koshetz, Wolodymyr Kolesnyk, Nestor Horodovenko, Dmytro Kotko. In Ukraine there existed a class of professional musicians who sang to their own instrumental accompaniment. These professional musicians were often known as kobzari or lirnyky. This category also includes players of the torban and bandura. The repertoire of these itinerant musicians differed considerably from that sung by the folk including the performance of dumy (sung epic poems). In the 20th century the vocal-instrumental tradition has grown into a movement where ensembles and whole choirs sing to their own accompaniment on these instruments. Notable examples include the Ukrainian Bandurist Chorus, The Canadian Bandurist Capella and the Kiev Bandurist Capella. Ukrainians have a wealth of folk instruments and a well-developed tradition of instrumental music. This is particularly because the Soviet government strongly discouraged the population away from religious music and encouraged "proletarian" forms of musical performance. The bulk of the ethnic Ukrainian population lived in a village setting and did not share the urban culture of the city based elite that controlled the country. As a result traditional music village music was encouraged and fostered. The first significant scholarship dealing with authentic Ukrainian folk instrumental music traditions is ascribed to the Ukrainian composer Mykola Lysenko and his publications starting in 1874 was dealing with the bandura and other Ukrainian folk instruments.

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