UKRAINIAN CULTURE: THE PAST, MODERN WAYS OF DEVELOPMENT Scientific journals Branch: Art Criticism

TRENDS IN THE DEVELOPMENT OF SCIENTIFIC RESEARCH DURING THE WAR

Volodymyr Vitkalov; Serhii Vitkalov — Sat, 10 Jun 2023 00:00:00 +0300

The content of two issues of the scientific-metric collection «Ukrainian culture: past, present, ways of development» is analyzed, the attention is focused on the leading directions of scientific research of the authors who took part in their formation, the emphasis is placed on individual scientific investigations, the authors of which offer a new vision of cultural and artistic problems or a presentation of a review of the publication; tendencies of scientific research in the conditions of war are revealed

UKRAINIAN KOBZA : ORIGINAL INSTRUMENTAL PROTOTYPE AND WAYS OF MIGRATIONS

Iryna Zinkiv — Sat, 10 Jun 2023 16:13:29 +0300

Aim of the paper – the introduction of new archaeological, iconographic and written sources into the scientific circulation, which from new positions make it possible to find out the deep genetic origins of the kobza and its adaptation in the traditional musical and instrumental culture of Ukraine.
Research methodology. The methodology is applied in the article historical and comparative study of the Ukrainian kobza as a lute-like instrument with similar archeological and iconographic musical instruments of Central Asia, Transcaucasia and the Caucasus.
Results. An instrumental analysis of the initial prototype of the neck chordophones, which became the basis of the formation of the Ukrainian kobza, was carried out. The migration paths of the initial instrumental prototype of the kobza from the territory of Central Asia, through Transcaucasia and the Caucasus to the forest-steppe and steppe areas
of Ancient Ukraine, to the Northern Black Sea region were established. As in Eastern musical iconography, kobzas in Ukraine existed in two varieties – with short and long necks, with a shovel-shaped and round resonator body.The shortnecked kobza also had two varieties: 1) as a lute-like instrument with 3-4 fretted strings and 2) as an instrument with
additional short melodic strings attached to the resonator body (so-called prystrunky). The melodic strings were bilaterally symmetrically arranged with respect to the fingerboard strings. The image of such a kobza was preserved in I. Repin's painting «Zaporozhians writing a letter to the Turkish Sultan» (1890). Turkic instruments could influence the formation of the lute-like kobza only indirectly, since they themselves were strongly influenced by the Scythian, Sarmatian and Alanic instrumental traditions.
Novelty. New archeological, iconographic materials, written and linguistic sources have been included, giving grounds to establish in a new way the time of appearance of kobza on the territory of Ukraine and to deepen the lower historical limit of the process of its adaptation on Ukrainian lands to the Scythian-Sarmatian times.
Practical significance. The proposed methodology for the study of the genesis and migration paths of the original prototype of the Ukrainian kobza and its functioning in the Ukrainian traditional musical culture will make it possible to apply it to the study of the genesis of other musical instruments of the Ukrainian people in its historical relationships with other cultures of the East and West.

VARIETIES OF LATE PALEOLITHIC WIND INSTRUMENTS IN PRIMITIVE MUSICAL AND INSTRUMENTAL CULTURE OF UKRAINE

Olga Olijnyk — Sat, 10 Jun 2023 00:00:00 +0300

The aim of the paper is to introduce into international scientific circulation wind instruments from the territory of Ukraine, analogues of which existed in the Paleolithic era in Europe, to systematize them according to the international classification of musical instruments by Hornbostel-Sachs, as well as to investigate the functions and semantic meaning
of individual varieties and their use in magical ritual practices.
Research methodology. The paper uses combined archaeological and organological research methods.
Results. As a result of a complex instrumental analysis, it was established that, according to their morphological features, the varieties of wind instruments found on the territory of Ukraine have analogues among the instruments of the Late Paleolithic era from other territories of Europe, as well as the traditional instruments of the peoples of the world. The semantic interpretation of the geometric ornament, as well as the material from which the flutes were made (bird bones, deer horns), made it possible to establish their gender distribution. Flutes made of bird bones belonged to women – guardians of the family, who were simultaneously «priestesses-shamans» who performed magical rites in order to preserve and protect the family collective. Instead, in many primitive cultures, the horn was a symbol of male power and played an important role in reproductive magical rites related to both the increase in the number of members of the community and animals, as the basis for the survival of primitive collectives. Deer horn flutes belonged to male shamans. Images of men in horned masks and animal skins are known from paintings in caves in France (Troy Frere) and in Ukraine (Balamutivska cave, Chernivtsi region).
Novelty. In the article, for the first time, a comprehensive systematic analysis of the varieties of Late Paleolithic wind instruments from the territory of Ukraine, their functions in magical rites, and gender distribution was carried out.
Practical significance. The paper materials can be used in research on the musical and instrumental culture of the ancient peoples of the world.

GUIDO SANTORSOLA’S GUITAR MUSIC : GENRE-STYLE FEATURES OF CREATIVITY

Tetiana Filatova — Sat, 10 Jun 2023 16:28:48 +0300

The aim of this paper isto reveal the genre and style features of the work of the Uruguayan composer Guido Santorsola on the example of his guitar music. The novelty of the article lies in the introduction of materials about Uruguayan musical culture and guitar music in particular into the national musicological circulation.
The research methodology is based on the methods of historical, phenomenological, comparative, structural and functional analysis to: summarize factual information about the composer's life and work, determine the genre features of folk music of Afro-Uruguayan and Creole origin in his guitar heritage, highlight the stylistic features of his work and implement the constructive logic of dodecaphony in the sound organization of the musical fabric.

Results. In the process of analyzing the cycle «4 Latin American Preludes», the genre elements of the shoro of Afro-Brazilian origin, the Creole waltz-shoro, the song of Vidalita and the malambo dance with Argentine and Uruguayan roots are identified. The «Ancient Suite» reveals the composer's neoclassical searches – baroque allusions to the European tradition of ancient instrumental cycles, with the involvement of an improvisational prelude to the usual alternation of the genres of minuet, musette, sarabande and gigue.The dodecaphonic polyphonic technique in the composer's guitar work is characterized as a leading vector of close attention to modern methods of writing (along with octatonic phenomena); the non-orthodox nature of the use of the system, which coexists with the dance rhythms of the Neapolitan tarantella in the Italian Sonata No. 4, as well as with the archetype of the Andalusian fandango in the Spanish Sonata No. 2, and with the rhythmic core of the Afro-Brazilian batuk in the Brazilian Sonata No. 5, is revealed.
The timbre imitations of percussion sounds are considered in connection with the use of specific techniques of sound production on the guitar. Guido Santorsola's stylistic preferences for the use of folklore resources of the multicultural Uruguayan environment and the nearest regions of Argentine and Brazilian cultures are complemented by the composer's attraction to European neoclassical paradigms of creativity, as well as attempts to combine new composition techniques with material of different genre and style.

THE IMAGE OF THE LEGENDARY MULAN IN LIU HANLI'S COMPOSITION «MULAN SI» FOR YANGQIN'S SOLO AND THE ENSEMBLE OF FOLK INSTRUMENTS

Ren Jiaqi — Sat, 10 Jun 2023 00:00:00 +0300

The purpose of the work is to investigate the stylistic direction of the features of the musical language of Liu Hanli‘s creation, using the example of the composition «Mulan Si» for Yanqing‘s solo and the ensemble of folk instruments and, therefore, to reveal the synthesis of Western European features and the elements of national folklore.
The methodological basis of the work is determined by the structure and artistic specificity of the object and includes: musical and stylistic approach and comprehensive musicological and structural analysis of the musical material itself.
The scientific novelty of the work is determined by the fact that for the first time it investigates the signs of the composer's musical language in the composition «Mulan Si» for Yangqing's solo and the ensemble of folk instruments in order to prove that Liu Hanli reproduced the legendary image of Mulan and her exploits in music, applying the transformation of Chinese folklore and romantic means of expression. For the first time, a complex of expressive means, architectonics, and therefore dramaturgy and program design were analyzed in detail.
Conclusions. The literary program is reflected in the music. The episodes of the work retain the principle of contrast, which indicates the variability of events and reflects the inner experiences of the main character of the poem.
The literary plot is arranged in the following sequence of parts: Introduction, Adagio «A», Cadence (hua caihuangkai), Allegro «B», Largo «C», Epilogue, among which the central, most important ones outline a complex three-part form with Introduction and Epilogue. The program is implemented quite abstractly, which is typical for Chinese music.
Regarding the means of musical expression in creating images and portraying events, the most significant ones are highlighted. In the modal-tonal sphere, the dominant role is played by the pentatonic, segments of the mode of different inclinations, , due to which oriental flavor is manifested in the music.
Pentatonic occurs both horizontally, giving the melody a narrative character, and is used as a verticalization of the mode, which has a direct impact on the color and functionality of the harmony. Some fragments of the work are characterized by bifunctionality and multi-layeredness.
The compositional structure of separate parts is influenced by the national models of shaping, namely, the variant development of thematics and the Eastern tradition of improvisation. In the palette of the speech means of expression, the composer Liu Hanli combined the modal-harmonic, metro-rhythmic and timbre features of Chinese and European music.
The prospects for further research of the problem lie in the field of studying the features of the musical language of Chinese composers in the works of various genres for Yangjin.

THE IDEA OF JAGIELLONISM OF LVIV'SSCHOOLS OF USICOLOGY

Oksana Hysa — Sat, 10 Jun 2023 16:51:06 +0300

The purpose of the study is to reveal and analyze the creative activity of the Department of Musicology of Lviv University in the context of Jagiellonism from the time of creation of this institution in 1912 to the beginning of the 21st century. Historical and cultural knowledge is distinguished, which makes it possible to cover the history of formation and development of musicological education in Ukraine, in which Jagiellonian ideas and traditions were objectively established as an original cultural phenomenon of higher music education.
Conclusions. A. Chybińskiactivity led to the emergence of a galaxy of Polish musicologists and historians of music, who were educated on the basis of educational and scientific methodology of European Academic Education. It was the first generation of musicologists who received a thorough professional education of the European model at home. Highly educated scientists were conscious of the significant importance of musicology for the development of the spiritual sphere of their people and understanding the achievements of their own national culture in the context of world culture.

THE FORMATION OF THE TANGO GENRE IN THE CONTEXT OF ASTOR PIAZZOLLA'S WORK

Myron Cherepanyn , Maryna Bulda — Sat, 10 Jun 2023 00:00:00 +0300

The aim of the article is to highlight the formation and development of the tango genre in the context of Astor Piazzolla's work.
Research methodology: To achieve the goal and solve the set tasks, the following research methods were applied: historical retrospective – allowed to realize the process of rethinking the formation and development of tango from the traditional «Argentine» to the modern «Nuevo» of Astor Piazzolla; of comparative analysis – helped to compare as separate segments of ancient Argentine folk dance, free composition, with an energetic and clear rhythm to the form of a concert author's work, fantasy, improvisation, enriching it with a wide range of performance, articulation, dynamic, textural, timbre and technical possibilities; systematic – a step-by-step study of the evolution of tango from its birth to professional concert-performance formation in the context of Piazzolla's work; abstraction – identification and verification of the objectivity of facts and information regarding the subject of research; classifications – made it possible to logically divide the Argentine tango genre into several types; synthesis and generalization – elaboration of the researched material and formulation of intermediate and general conclusions.
Results. One of the most daring attempts of the outstanding Argentinian, Astor Piazzolla, is to rethink the popular musical tradition of tango, to raise this popular musical genre to a qualitatively new professional level, using a wide range of articulation, dynamic, textural, timbre and technical properties of the bandoneon. The bright artistic individuality of the
composer has long been recognized by performing musicians and music critics. The «revolution» he declared in the world of tango masked the deeply conservative features of his music, including the longing for recognition in his native lands. The unique and unique synthesis of A. Piazzolla's music made it possible to find a new way of embodying feelings, thanks to the use of the national musical language, understood by millions of enthusiastic fans of the work of the Argentine composer. He enriched world music classics with a musical genre unmatched in depth and drama – Nuevo Tango. His musical creations and boundless dedication to his art can without exaggeration be called the «genre of immortality». In the history of Argentina, the figure of the composer is forever engraved with the name El Grand Astor (The Great Astor).
The novelty of Latin American dance revived from the past lies in its modification on a qualitatively new level of musical thinking – a classical art form that has organically fit into the context of world musical culture. The composer highlighted the poetics of tango, interpreting it in the genres of academic music, symphonies and ballets. Just as I. Strauss raised the waltz, polka from the dance hall to the level of the concert stage, and F.Chopin – waltzes, mazurkas and polonaises, Piazzolla gave tango the form of a concert work, fantasy, improvisation, simultaneously enriching his works with Latin American rhythms of rumba and samba.

SOCIO-CULTURAL AND MUSICAL AND PROFESSIONAL CONDITIONS OF THE APPEARANCE, EVOLUTION AND SPREAD OF THE ACCORDION

Bohdan Kysliak — Sat, 10 Jun 2023 17:08:42 +0300

Тhe purpose of this work is to highlight the peculiarities of the process of the appearance and spread of the accordion in the context of historical, socio-cultural, musical-professional and performance nuances. Methodology. System-analytical and structural-functional research methods were used, which together form a single methodological base.
The work presents the evolution of the technical structure of the accordion, as well as a number of advantages over its predecessors (such as concertina, harmonica, and others); emphasis is placed on the features of the accordion repertoire at all stages of its development; the process of improving the accordion to a modern professional instrument is considered, as well as the reasons for these changes and their consequences for accordion performance (for example, the half-century triumph of the accordion in the 20 th century in Europe, America and Asia), the main characteristics of the accordion, which led to its rapid integration into the field of mass music at the beginning of the 20 th century, are revealed.
Scientific novelty. The material carries deep historical and cultural information, which is capable of raising the general cultural level of the reader and introducing him into the context of the history of the appearance and spreading the accordion.
The above-mentioned thesis is also related to the practical significance of our work, which can become the basis or part of further, more in-depth studies of those phenomena related to the appearance and spread of the accordion.

LEV GETS IN EXHIBITION PROJECTS OF LVIV IN THE 1920 S: COOPERATION WITH GROUPS OF ARTISTS OF UKRAINIAN ART

Iryna Gakh — Sat, 10 Jun 2023 17:27:35 +0300

After the Ukrainian Sich Riflemen series were exhibited in 1918 in the Lwow Ecclesiastical Museum, the young Ukrainian soldier became noticeable in a public that was interested in the art creation of the Ukrainian Sich Riflemen and «Press Apartment».
In 1921, Getz was enrolled in the Krakow Academy of Arts in Stanislav Dembytskyi`s class. At that time, he already had good artistic skills in graphics, which was shown in his artworks: «The Anthology of Riflemen's Art» (1915-1917) and «The Dąbie-1919», convincingly proved Getz`s mastery in caricatures, documentary drawing, design of illustrations, etc. For
the young man, who was filled with the desire for creative self-fulfillment, it was the beginning of a new period of life: he got the opportunity to study fine arts in one of the best European art institutions. Lev Getz combined his daily studies with exhibition activities, which contributed to the search for his own creative solutions, learning new information, gaining
professional experience, and first attempts at prof realization. From the second year of the Academy, the young man began to receive awards for graphic works, which became a guarantee of progressive mastery in painting and drawing.
In 1922, Getz took part in the Ukrainian Art Exhibition, after which the Group of Figures of Ukrainian Art was created – the first Ukrainian national association in Lviv city. The work of the newly established association was focused on the development of Ukrainian art, preserving and increasing the national essence of art, and solving cultural problems that have arisen in visual culture at the beginning XX century.
Today, we have enough information about the creative work of L. Getz, which is based on the documents that were found in the Central State Historical Archive of Ukraine in Lviv, the Institute of National Memory (Instytut Pamięci Narodowej), the archives of the Historical Museum in Sanok and the Biblioteca Vallicelliana in Rome. The research conducted in the above-mentioned institutions provided an explanation of information about Getz's creative work in the 1920s-1925s. All materials collected and processed sources including archives of the mentioned organizations, literature and newspaper publications beginning XX century, descriptions, museum inventory, and archive files are published for the first time. To this day, Lev Gets's participation in the Group of Figures of Ukrainian Art, as well as the features of the artistic output during mentioned years, have remained unexplored.
The aim of the publication is to present Lev Getz's participation in exhibition projects of the early 1920s in Lviv and membership in the first Ukrainian national association in Lviv - the Group of Figures of Ukrainian Art.

MODERN CHINESE SURREALISM: BASED ON LUI LIU'S WORKS

Haotian Liu — Sat, 10 Jun 2023 17:35:38 +0300

The purpose of the work is to explore the features of the musical language of the famous modern Chinese composer and at the same time a virtuoso performer on Chinese dulcimer – Yangqing – Liu Hanli.
To determine the stylistic features of the artist's language in general, and in particular in the concerto «Tszin‘ Lingsi – Reflections on a City» for orchestra of folk instruments and Yangqin.
To demonstrate how a fairly clear plot programming is realized in the work. To demonstrate the compositional logic and style of the work through detailed analysis of structural, tonal and musical expressive features.
The methodological basis of the work is determined by the structure and artistic specificity of the object and includes: musical and stylistic approach and comprehensive musicological and structural analysis of the musical material itself.
The scientific novelty of the work is determined by the fact that it is the first time the concerto «Tszin‘ Lingsi – Reflections on a City» for Folk Instruments Orchestra and Yangqin by the famous contemporary Chinese composer, virtuoso performer on Chinese dulcimer – Yangqin – Liu Hanli is considered and analysed. The expressive means, architectonics, dramaturgy and relevance to the programme are analysed in detail.
Conclusions. In Liu Hanli's Concerto «Tszin‘ Lingsi – Reflections on a City» – for Folk Instruments Orchestra and Yangqing, the composer conveyed the spirit of the ancient people through the depiction of life scenes, highlighting their kindness, courage, diligence and strength of spirit in the struggle for survival.
The artist implements the elaborate and clear subject programme rather abstractly, although several clear soundscapes can be found throughout the work. Throughout the work, there is a subtle link between the intonation image and the phenomenon depicted in the programme word.
On the palatal tonal level, the piece is interesting in its use of pentatonic scale, Doric and Aeolian. The nonperiodic alternation of sizes not only during individual constructions, but even during a single thematic element, adds a folk flavour to the piece.
Professor Liu Hanli, the leader of the Northeast Yanqing, demonstrates in this work an interesting and convincing synthesis of the European musical language and the national folk basis. Here he combines the expressive means of the major-minor system with transformed examples of folk songwriting.
The prospects for further research lie in the study of the characteristics of the musical language of Chinese composers in works of different genres for Yangqin – solo, ensemble and orchestral.

A COMPARATIVE STUDY OF THE ARTISTIC FEATURES OF CHINESE AND UKRAINIAN CHILDREN'S BOOK ILLUSTRATIONS AT THE BEGINNING OF THE 21 ST CENTURY

Wang Hanping — Sat, 10 Jun 2023 17:43:05 +0300

The article is devoted to a comparative study of the artistic features of Chinese and Ukrainian children's book illustrations of the beginning of the 21 st century. The purpose of the article is an attempt to scientifically understand artistic features and compare them with each other in Chinese and Ukrainian children's book illustrations of the beginning of the 21 st century. The research methodology is based on ideas related to the development of graphic art in general (in Ukraine, these are the scientific works of S. Bilokon, Yu. Biryulov, O. Golubts, D. Gorbachev, O. Lagutenko, and others, in China, the studies by Jia Wei, Zhang Yiqian, Chi Xing and others) and were developed by such graphic illustrators in Ukraine as O. Petrenko-Zanevskyi, V. Yerko, K. Shtanko and others, and in the People's Republic of China – by such graphic artists as Zhou Xiang, Jing Shaozong and others. The methods of scientific
research turned out to be such general scientific methods as: the method of systematic analysis, the method of chronological analysis, and the method of comparative analysis. Art recognition methods have become: the method of stylistic and the method of compositional analysis of graphic works. The author analyzes the publications in which the state of the Chinese and Ukrainian scientific discourse on the specified problem is investigated. The scientific novelty of the research lies in the fact that there are still no comparative studies of children's book illustrations of the beginning of the 21 st century in the art history discourse in Ukraine and China. Stylistic, compositional, and coloristic features of children's book illustrations are studied on the examples of the analysis of illustrations by N. Haida, O. Gavrylova, R. Popsky, Xiong Liang, Jing Shaozun, and Yu Hongcheng. It has been proven that today this part of book graphics in both countries is turning into a fairly independent subspecies of graphic art, and illustrating a children's «picture book» into an independent genre of children's book illustration. The conceptualization of the concept of a children's «picture book» in both countries is similar, because it means a large-format publication with a small amount of visual and textual information, with a simplified arsenal of means of artistic expression, in which synergy between visual and linguistic elements is ensured, intended for preschool children and junior school age. Artists-illustrators of both countries tend to spread national motifs, «poetic» graphic language, use of national characters, symbols, color range characteristic of national colors and compositional solutions corresponding to the age of the target audience. However, a Chinese children's book illustration of the beginning of the 21 st century. in its typical manifestations, it uses traditional graphic techniques inherent in traditional Chinese fine art, continuing the traditions of the Chinese «shadow theater», and
Ukrainian children's book illustration – to the use of computer technologies, orientation to character, interactivity, the search for one's own author's style and experiments with images.

TETIANA YABLONSKA'S CREATIVE SEARCH IN HER PASTELS OF 2003-2005

Maryna Yur ; Tetyana Zinenko , Veronika Zaitseva — Sat, 10 Jun 2023 17:56:58 +0300

The article is devoted to the creative search of the prominent Ukrainian artist Tetiana Yablonska in the field of pastels.
Her paintings created in this technique in 2003–2005 are considered. In particular, «The Sky in the Clouds» (2003), «Winter Window», «Autumn Leaves», «Gayane and a Green Window», all of 2004, «Summer», «Still Life with Green Bottle», both of 2005, «Bells», a work created on the day of the end of Tetiana Yablonska's earthly life on June 16, 2005. The article describes
the artistic specificity of these works, which manifested itself in the characteristic features of meditative contemplation, a return to the reflection of pure examples of the art of Italian masters of the Proto-Renaissance and mature Renaissance, turning in upon oneself and silent asceticism of being in the conditions of limited physical space and unlimited sacred quests. Problem statement. In the legacy of Tetiana Yablonska, the pastel works of the last three years of the artist's life have not yet become the subject of special interest of art historians. Since in the work of every great master the beginning of its artistic path, that is, the stage of formation, and the completion of the author's work, are like two main
chords of being, between which the «music of creativity» is born, it is important to pay attention to these works, among which there are absolutely unique, masterpiece pastels.
The relevance of this topic is confirmed by the need to study a separate stage of Tetiana Yablonska's work, when she, a right-handed person by nature, had to relearn to paint with her left hand, which is why this part of her late stage of creativity in a certain way reflected her nervous movements and intentions.
The purpose is to reveal the specificity of Tetiana Yablonska's creative search in the last period of her creative life, which was manifested in her pastel compositions of 2003–2005, most of which belong to the artist's family.
The research methodology is based on a set of principles of reliability, art and cultural approaches, ontological, axiological, suggestive, historical and comparative, prosopographic, cross-cultural, iconological methods of art review and systematisation.
Results. In fact, Tetiana Nylivna's work on pastels became her «great and indescribable silence», within which meditative flashes of thought were revealed. They seemed to lift the veil of mystery over her artistic nature, from where fragments of individual «melodies» of the combination of colour and divine «Proto-Renaissance» pure light came. These
bright, optimistic, sonorous moody artistic searches sometimes envelop the viewer with the Odesa sun of her childhood, Podillia breezes of clean air without further «layers» inherent in the artist's youth, the rainbow haze of Transcarpathia with the «indigo» ozone of the mountains, the dew of Sedniv and the epic grandeur of the ancient, monumental and epic city of
Kyiv. A barely perceptible anxiety about the future is reflected in the slightly broken, sometimes somewhat «sharp» lines of some silver, greenish, lilac intentions in the pastels of T. Yablonska with white flashes, a great artist and an outstanding teacher who laid the foundations of the unique Kyiv School of Art of the twentieth century.

The novelty of the study lies in a new understanding of certain works of the late period of Tetiana Yablonska's artistic activity, as well as in their art review, which is introduced into scientific circulation. The practical significance of the study lies in the systematisation of information about Tetiana Yablonska's creative searches in the field of pastels, performed by her during 2003–2005, taking into account the ambivalent meaning of drawing and painting.

LAUGHING CULTURE OF THE UKRAINIAN PEOPLE IN PICTURES OF «THE KOSSACK MAMAY» TYPE

Stanislav Bushak — Sat, 10 Jun 2023 18:03:49 +0300

Formulation of the problem. The author wants to find out how the sense of humor characteristic of Ukrainians found its manifestation in the corpus of Ukrainian folk paintings such as «Cossack Mamai». The task of the research is to establish which specific features of laughter are most characteristic of these works, which are one of the unique phenomena of Ukrainian culture.
Research methodology. The methodology is based on the identification among the corpus of paintings of the «Cossack Mamai» type of works that have a characteristic – humorous or caricature-grotesque sharpness of their figurative interpretation. At the same time, the interpretation of the images of the main character of the works (a Cossack-musician) and other characters who accompany him are analyzed and compared. These actors are depicted in two parallel planes – visual (plastic) and literary (poetic).
Scientific novelty. Taking into account the fact that folk paintings of the «Cossack Mamai» type are still very little researched from the point of view of studying the specific features of their laughing culture, our modest scientific article has a noticeable scientific novelty. In fact, this article is the first to investigate this problem.
The purpose of the article is to solve an important scientific problem – to find out what role the elements of the laughing culture of Ukrainians play in the creation of the epic image of the Zaporozhian Cossack (Mamay), Mamay is a favorite hero of the Ukrainian people already during the last four centuries of its history (from 18 th to 21 th centuries). Laughter culture is considered in two main varieties of its manifestation – worldview-elevated and rude-base.
Practical use. The existing research is a modest contribution to the identification of factors that influenced the formation of the unique emotional and mental identity of the Ukrainian people and the formation of its national character. First of all, this concerns the sense of laughter, which plays an important role in creating a complete image of the hero of Ukrainian folk paintings – the Cossack Mamai.
Prospects for further research. Considering the fact that the image of «Cossack Mamai» continues to be very popular among the Ukrainian people in the 21 st century, the study of the peculiarities of the laughing culture of these pictures has a very great perspective.

POPULARIZATION OF LEMKOS SONG FOLKLORE IN THE PERFORMING PRACTICE OF UKRAINIAN AND ABROAD ARTISTS

Olga Fabryka-Protska — Sat, 10 Jun 2023 18:12:32 +0300

The specifics of the development and popularization of Lemkos folk songs in the context of vocal performance during the period of Ukrainian Independence are comprehensively covered. The creative activity of famous singerperformers, vocal talent shows, festivals of Lemkos culture in the socio-cultural space is revealed. The role of folklore material is outlined. It is noted that in recent decades, music belonging to mass culture with its simplified and expressive means, complex processes of exchange, both folk and professional samples of musical creativity easily penetrates the socio-cultural space of any national culture. It has been proven that in the first decades of the XXI century. it is the vocal sphere, among other forms of art, that becomes the leader in terms of the frequency and scale of broadcasts in the media space and Internet networks.

ENTERTAINMENT DIMENSIONS OF CONTEMPORARY BANDURA ART

Violetta Dutchak, Karas Hanna — Sat, 10 Jun 2023 18:25:46 +0300

The article proposes an analysis of bandura performance in Ukraine and the Ukrainian diaspora from the late 20 th to the early 21 st century in the context of the dimensions of functioning in popular music, its aesthetic and genre-specific demands. The research focuses on the creative work of solo performers and ensembles (homogeneous and mixed in terms of vocal composition and instrumentation) that have gained wide popularity, represent an innovative approach to repertoire and its stage interpretation, actively promote bandura art through participation in media shows, active promotion on social networks, sound recordings, and festival activities. The main thematic and genre directions of the repertoire of contemporary bandura art representatives, representing the popular music dimension intended for a wide mass audience and presented in the online space, are identified. The levels of interaction between bandura composition and folklore, as well as contemporary performance tendencies (spectacle, theatricality, covers, etc.), are revealed.

THE VICTORIAN ERA THROUGH THE PRISM OF THE BIEDERMEIER STYLE

Алла Соколова — Sat, 10 Jun 2023 00:00:00 +0300

The purpose of the article is to consider the cultural values of the English middle class and the typical «Biederman» of the Victorian period through the prism of the ideals and principles of the Biedermeier era.
Research methodology consists in the application of methods of analysis and synthesis, systematization of facts, comparison and generalization of research results. The system-historical method made it possible to examine the cultural values of the Victorian era through the prism of Biedermeier's ideals.
The practical significance of the research is that its materials can be used in educational courses of secondary or higher education institutions.
The results. It was found that in England the Biedermeier style was born in the bowels of the early Victorian era and was partly a mirror image of the German and Austrian Biedermeier style, partly a compromise between tradition and scientific and technical achievements. It was emphasized that the emergence and firm rooting of the style was facilitated by the religious revival in England in the 19th century, the excessive fascination of English society with German culture and the formation of the English middle class – «Biederman». It is justified that the style of English Biedermeier was a harmonious balance between imperial ambitions, the struggle of the nation's ruling elite for leadership in the world political
system, the cultivation of the traditions of Ancient Rome and sentimental idealism, glamour, the cult of family and the Christmas holiday, virtue and respectability. It was determined that the essence of Victorian culture is the equivalence of the Great and the Small, the imperial and the Biedermeier.
Scientific novelty – for the first time the Victorian era was considered in the context of social identity, personal involvement, mentality, symbolic forms, stylistic orientations of the Biedermeier era, which was born in the bowels of the early Victorian era.

PARATEXTUAL-INTERMEDIATE CORRELATIONS IN THE FOLKLORISTIC, CHORAL AND PIANO HERITAGE OF MYKOLA LYSENKO

Oksana Frait — Sat, 10 Jun 2023 18:47:02 +0300

The aim of the article is to highlight the intertextual (paratextual and intermediate) relations of M. Lysenko‘s folkloristic, choral and piano creative work, to compare different genre versions originating from the initial song representations, and to clarify the interaction with ―foreign‖ thematic material.
The research methodology is based on system-analytical and structural-semantic methods, generalization method.
Also historical and culture-studies, comparative methods, method of comparison of musical texts have been applied to both: M. Lysenko‘s self-referential «editions» and his re-intonated borrowings from the Western European composers.
Result. In the relations of folkloristic, choral and piano spheres of M. Lysenko‘s creative work, self-referential, cross-genre dialogues of his own texts and additional correlations-polylogues, formed by means of combining, adding, reintoning and vocalizing music passages of F. Chopin and R. Schubert, stand out. Cross-textual dialogues and polylogues
are marked by the tendency to expand the time-space and semantic resources of the original representation (vocals and piano or choir and piano) as well as by the variety of timbre and phonic translations.
The correlations of M. Lysenko‘s folkloristic, vocal, choral and piano heritage are subject to such principles as personal and psychological motivation of the composer-performer-pianist and conductor, repertoire requests and popularizing intentions and the co-creative dialogic intention to maximally reveal the semantic and expressive potential of song sources, sometimes supplementing it with the factor of the cross-cultural polylogue. The practical significance of the article is in the possibilities of deepening the knowledge for the performance interpretation of the analyzed works of M. Lysenko for conductors, pianists, vocalists and choristers in educational and concert practice.

«CONCERTINO»BY LEONID ZATULOVSKYI: INTERPRETATION OF THE GENRE

Yuliya Kapliyenko-Iliuk — Sat, 10 Jun 2023 18:56:06 +0300

The purpose of the article is to carry out a musicological analysis of Leonid Zatulovskyi‘s «Concertino» and to reveal the peculiarities of interpretation of the genre in his work. The novelty of the research consists in elucidating the features of the piano music of Bukovynian contemporary composer Leonid Zatulovskyi on the example of «Concertino» for piano and symphony orchestra.
Research methodology. When preparing the materials for the article, the following methods of scientific research were used: historical and cultural, theoretical and genre and style analysis. This made it possible to reveal the traditions and innovation of the composer‘s interpretation of the «concertino» genre.
Conclusions. In his Concertino, Leonid Zatulovskyi recreated the model of conflict-dramatic symphonism, imitating the best traditions of world and Ukrainian symphonic music, in particular, B. Lyatoshynskyi‘s. To implement his idea, the composer chose the «concertino» genre, examples of which can be found in Ukrainian music, in the works of V. Gubarenko and Zh. Kolodub. The one-part form of «Concertino» by L. Zatulovskyi showed signs of a cycle, which indicate its sonata-symphonic type. The work is clearly divided into four parts, where the first part shows the main contrasting images, their opposition and collision occurs. The second part contains a lyrical image embodied in the slow part. The third part contains an «aggressive» hard scherzo, and the fourth part shows a development that, in terms of content and character of presentation corresponds to solemn and exalted finale. The concertino also has signs of symphonic development: presence of reminiscences, cross-sectional development of themes, manifestations of monothematic combinations add to the general unity in form, in particular, they reproduce the logic of the dramatic concept of the work.Thus, the genre priorities of Leonid Zatulovskyi‘s works are rich and diverse, but one of the most important and brightest is the piano heritage, where the features of the composer‘s artistic style are clearly manifested.
Compositional thinking of the Bukovynian artist is characterized by a combination of original academicism with features of folk music, song and dance traditions. Academic principles are primarily related to genre models characteristic of Ukrainian music of the second half of the 20th century.At the same time, Zatulovskyi‘s works are distinguished by bright melodism, rhythmic character, original and virtuosic combination with modern trends and directions in musical art, in particular with jazz and instrumental improvisation. Therefore, musical art of Bukovyna, in particular the works of Leonid Zatulovskyi, maintaining close creative and stylistic ties with the traditions of various national cultures, demonstrates polystylistic nature of musical thinking of the region‘s composers.

«THE PURITANS» BY V. BELLINI IN THE RIVER OF GENRE-STYLE SYNTHESIS OF ROMANTIC MUSICAL DRAMA

Anna Dzhulay — Sat, 10 Jun 2023 19:16:48 +0300

The purpose of the work is to reveal the poetic and intonational specificity of V. Bellini's «Puritan» in the context of the evolutionary paths of the Italian musical theater of the first half of the 19 th century and its genre synthetic nature.

The methodological basis of the work is the intonation concept of music from the perspective of intonation-stylistic, etymological analysis, as well as interdisciplinary and historical-cultural approaches. The latter allow us to reveal the genre, spiritual, semantic and stylistic specificity of V. Bellini's «Puritan» in the context of the aesthetic guidelines of the Italian musical theater of the first half of the 19th century. The scientific novelty is determined by its analytical perspective, which takes into account not only the genre-stylistic specificity of V. Bellini's operatic heritage, which was also manifested in the opera «The Puritans», but also the peculiarities of genre synthesis in the Italian opera of the first half of the 19 th century. Conclusions. «The Puritans» by V. Bellini is a vivid example of the genre searches of the Italian musical theater of the first half of the 19 th century, aimed at the genre-stylistic synthesis of the traditions of the European musical theater of the New Age. The analyzed opera by V. Bellini fully reflected the synthetic genre nature of the poetics of «bel canto romantic drama». Defined by V. Bellini as an opera-seria, «The Puritans» incorporated the highest achievements of bel canto vocal art, as evidenced by the melodic material of the opera and the specificity of its interpretation. V. Bellini's work also has signs of a lyrical tragedy, which manifests itself in the key role of the classicist idea of the opposition of binding and personal feelings, which is the driving force behind the motivations and actions of the heroes of the opera; and in the author's appeal to the historical plot with its obvious allusions to contemporary events. In the latter case, the musical characteristic of the Puritans is indicative, generalized, on the one hand, through the chorale, and on the other, through the typology of the march and polonaise, which, in the conditions of the historical realities of the first half of the 19 th century, symbolized for V. Bellini personally and the Italian nation as a whole the desire for freedom and defense of its spiritual and ethical ideals. The presence of a historical-religious conflict in «The Puritans» actually presupposes the typological features of the «great» French opera by J. Meyerbeer and J. F. Halevi. At the same time, the emphasis in «Puritans» on the tragic fate of Elvira (as one of the main heroines of the opera), who combined great love and madness, reveals the signs of a romantic musical drama itself.

IMPLEMENTATION OF MONOIDEOLOGICAL PRINCIPLES IN ART CRITICISM IN SOVIET UKRAINE IN THE 1930 S

Alina Pidlypska — Sat, 10 Jun 2023 19:23:04 +0300

The aim of the article is to reveal the specifics of the implementation of monoideological principles in art criticism in Soviet Ukraine in the 1930 s.
Research methodology. The research uses a historical-chronological approach, analysis and comparison of sources, comparison.
Results. In the early 1930 s, the canons of new Soviet art were actively developed, normative aesthetics were gradually introduced under the guise of a struggle for «realism», and an artificial monostyle – «social realism» – was formed. Art, and accordingly its criticism, became a tool of monistic propaganda. In the mid -1930 s, the principles of pluralism of opinions in art criticism collapsed, the dominance of monoideality and total support of the party leadership was legitimized. From that time on, the art-critical sphere was recognized by party and state bodies in Soviet Ukraine as one of the tools for planting monoideology and rooting socialist realist canons. Critics of the artistic sphere were entrusted with the functions of ideologically savvy guideposts for artists, political and ideological translators of progovernment ideas and party instructions.
The main tasks of art criticism in the USSR became the inculcation of Soviet artistic standards, prevention of manifestations of national identity, support of the fight against Ukrainian bourgeois nationalism, which became one of the key ideas announced during the All-Ukrainian Conference on Music Criticism (Kyiv, 1934).
Novelty. For the first time, the formation of the main postulates of socialist realist artistic criticism in Soviet Ukraine was followed, in particular, the prevention of manifestations of national identity, support for the fight against Ukrainian bourgeois nationalism.
The practical significance. The materials and results of the research can be used for further research on the problems of art criticism and social realism, as well as for deepening the knowledge of students, graduate students, and anyone interested in Ukrainian culture.

CHORAL WORKS BY VICTORIA POLEVA IN THE CONTEXT OF INTERMEDIALITY

Nina Dovgalenko — Sat, 10 Jun 2023 19:30:30 +0300

The purpose of the article is to propose possible tools for developing the theory of intermediality within musicology, using the choral works of the contemporary Ukrainian composer Victoria Polyova as a research material.
Research methodology. The methodological basis is a systematic approach and musicological analysis of V. Poliova's choral stylistics.
The novelty of the study lies in the application of the categories of space and time as conceptual foundations in the understanding of stylistics in the context of postmodern modernity.
The development of the theory of intermediality in its musicological aspect is one of the promising areas of contemporary art history, which will contribute to the expansion of the complex of analytical, cultural, and purely musicological tools for the study of the latest processes in contemporary artistic thinking. Such tools can be discourses of space and time, the categorical nature of which allows us to change the «event horizon» in search of methods of studying an artistic text that are appropriate to postmodern realities. The determining factor in the formation of Poliova's style is her attitude to the word. In her choral works, the word as a verbal factor is reinterpreted as an inherent quality of purely musical meaning. The composer uses not only the traditional historically established methods of intonational and semantic embodiment of the word in musical matter. She understands the word-logos as a certain symbol containing a range of semantic and phonological meanings. The vibrations of meanings, their immersion in the intonational environment encourage transformations in the system of expressive means. The peculiarity of the organisation of space and time in the choral works of Viktoriia Poliova is of decisive importance in terms of their musical embodiment.
Statics, the depth of sound matter, spatial configurations become substitutes for traditional methods of creating drama, dynamics, and form. A wide range of textural means determines the strategy of «reading» the concept of the work.

The practical significance. This material can be used for further development of intermediality and in lecture courses on contemporary Ukrainian music.

SONG CYCLE «THE PLAY OF COLOURS» BY BOHDANA FILTS BASED ON POEMS BY SVIATOSLAV HORDYNSKYI: PRINCIPLES OF CORRELATION BETWEEN MUSIC AND WORDS

Oleksandra Nimylovych — Sat, 10 Jun 2023 19:41:19 +0300

The creative legacy of Bohdana Filts (1932-2021) clearly stands out among the Ukrainian composers of the mid 20-21 st century, who have been actively working in the chamber and vocal genre. Along with symphonic, choral, chamber and instrumental works, opera for children, a significant place in the composer's artistic heritage is occupied by solo songs and
song cycles. B. Filts Turned out to be especially successful in this genre due to her natural giftedness, melodic talent and exceptional understanding of the expressive properties of the human voice. When choosing poetic texts, the composer always paid attention to the depth of meaning, national colour and sensuality. The song cycle «The Play of Colours» (Perelyvy Barv) based on poems written by the poet Sviatoslav Hordynskyi was created in 1994 and first published in 2020.
The purpose of the article is to identify the principles of musicalisation of poems by Sviatoslav Hordynskyi as part of the song cycle «The Play of Colours» by Bohdana Filts.
The research methodology comprises certain musicological methods: the cultural-historical method was applied to uncover the history of writing vocal works based on poems by S. Hordynskyi; the musical-analytical method was used for structural and systemic analysis of the works necessary for highlighting the general features of the song cycle and individual characteristics of the particular works.
Novelty. The comprehensive analysis of the papers on the topic under research proves that only some of them contain references to the song cycle by B. Filts based on the poems by S. Hordynskyi. Therefore, the presented analysis of solo songs and the correlation between poetry and music in these works constitute a scientific novelty of this paper.
Results. The song cycle «The Play of Colours» based on poems by Sviatoslav Hordynskyi is dedicated to the composer Ihor Sonevytsky. Three solo songs comprising the cycle are marked by various moods and feelings: in some, philosophical and pictorial notes can be heard, others either resemble lullabies (folk ones, in particular) or may sound lyrical or dramatic. The composer proves to be exceptionally gifted in tone painting, making the melodic line both melodious and recitative and using the impressionistic coloring of the piano texture.
Musical techniques, used by B. Filts to highlight the poetry, subtly illustrate the meaning of the latter, and prompt a deeper understanding of the imagery and mood variations creating an internal unity of the cycle.

DRAMATIC VERSIFICATIONS OF THE CHORAL SEGMENT IN THE OPERA «MOSES» BY MYROSLAV SKORYKA

Iryna Kurylyak — Sat, 10 Jun 2023 00:00:00 +0300

The aim of this article. The purpose of the article is to reveal the peculiarities of the dramaturgy of the choral episodes of M. Skoryk's modern Ukrainian opera «Moses». Research methodology. Historical-cultural, structural-systemic methods, as well as the method of typology were used in the research process. Novelty. The peculiarities of the realization of the tragicphilosophical component of the idea of the libretto of Ivan Franko's poem of the same name in M. Skoryk's music are highlighted. The thematism was studied, the main dramatic lines of the use of the chorus in different episodes of the opera were determined, depending on the course of plot events. A significant predominance of the choral element in this opera work was revealed, which gives it the genre features of an oratorio opera. Results. Conclusions are formulated that the specificity of the modern composer's vision of artistic processes by Myroslav Skoryk, through the prism of his own creative searches, was reflected in the rethinking of the opera genre and determined its timeless relevance.
The opera «Moses» by M. Skoryk continues the line of works depicting the process of human self-discovery.
The multi-level concept of the opera is embodied with the help of musical-intonational dramaturgy, which M. Skoryk builds according to the principle of a hierarchically and logically organized spiritual-musical universe. Through the symbolic plot of the biblical parable, the picture of the birth and formation of a new conscious Ukrainian nation is recreated. The line of the chorus, built according to the principle of action and counteraction, becomes the background for depicting the stages of the spiritual and moral struggle of the people. The chorus is both an active central character, and a background, and a commentator on the action taking place. The intonation component of the musical language of choral scenes is built on the principles of stylization, almost quoting the peculiarities of church singing, which is traced back to the classics of the Ukrainian choral concert genre of the second half of the 18th century. Such elements as the imitation of church singing, choral responsorship and the general type of texture have been significantly modified.

CHORAL BALLAD «ZEMGALE» BY PETERIS VASKS: MUSICAL UNDERSTANDING OF THE HISTORICAL PAST

Mariia Tytova — Sat, 10 Jun 2023 20:03:15 +0300

Peteris Vasks is a central figure in the contemporary Latvian music scene; his works are performed by many worldrenowned ensembles, and there are numerous concert and studio recordings. Another important factor in the study's focus on the composer's choral music is that the author himself singles out the sound of the a cappella choral array as one of his
favorite timbral solutions, as he announced at a creative meeting in Kyiv in September 2019. In addition, Peteris Vasks has been turning to choral music from the very first years of his composing activity and continues to do so today; today the catalog of the artist's choral works includes more than 30 works of various genres. In this context, choral ballads of the mature period are to some extent a generalization of the composer's creative search. Therefore, the first scientific approach to the analysis of the ballad «Zemgale» determines the novelty of the study.
The main objective of the publication is to determine the artistic means of reflecting historical events in the music of the choral ballad «Zemgale» by Peteris Vasks.
The methodology includes methods of structural-functional and historical analysis to: trace the characteristic features of the ballad genre at different stages of development and identify individual features of its embodiment in the choral works of Peteris Vasks; establish the constructive features of the organization of the musical tissue and ways of its correspondence with the textual basis of the piece.
Conclusions. In the choral music of Peteris Vasks, during different stages, stable individualized sound models were formed, which correlate with a certain imagery and become a kind of translators of the inherent meanings.
The first model is turned to the past, associated with the medieval and Renaissance religious tradition, the core of which is the harmonic modes, the ancient church modes. The sequential presentation of a modus by a single voice creates a horizontal movement in the time coordinate. The second important coordinate that regulates the development of a sound
model is the synchronization of all the sounds of the fret-sound series vertically.
The densest sound formation formed in such synchronization is a cluster, which can take on various textural forms: sonorous stream, sonorous band, etc. The second model of sound tissue organization has an almost identical mechanism. It is also based on the modal idea, but it is completely different: the modes of artificial nature are symmetrical modes of limited
transposition or the so-called octatonic modes.
The third model is the measurement of sonorous sonorities. The largest proportions of this model can be traced in extremely tragic works: it is a stream of external noises that amplify the sonorous resources of the sound fabric. In the foreground are shouts, whistles, speaking, grotesque laughter, glissandos to extremely high and extremely low sounds that embody clots of emotions of a huge tragic range.
Thus, comprehending the past of his homeland, the composer chooses dramatic moments of history. On the example of the choral ballad «Zemgale», the author's approach to the poetic source is traced: the undulating fluctuations of acute empathic states, outbursts of strong emotional empathy achieved by using a wide palette of techniques and techniques are revealed.

THE MUSICAL LANGUAGE OF THE CELLO SONATA BY FEDIR YAKYMENKO

Modest Mentsinskyy — Sat, 10 Jun 2023 20:12:42 +0300

The purpose of the article. The article analyzes in detail features of the Cello sonata Op.37 by Fyodor Yakymenko (1905) and explores the artist's musical language.
The scientific novelty. Sonata for cello and piano Op. 37 by Fyodor Yakymenko has passed the attention of musicologists. In the article for the first time is carried out a comprehensive analysis of musical, expressive, formconstitutive, dramaturgical features of the composition. The ratio of ensemble instruments is outlined. The article exposes classical and romantic tendencies of the sonata.
Results. Cello Sonata Op. 37 by Fyodor Yakymenko is a vivid example of the composer's creativity. The figurative dramaturgy of the sonata develops in a number of emotional states: through the romantic sublime (Mov. I), waltz lyrics (Mov. II), to the deep contrast of the burlesque images of the finale (Mov. III). The composer skillfully combines a number of contrasting images and moods due to the masterful use of the form which he freely interprets as a three-part cycle. The artist synthesizes features of classicism and romanticism. The modification of the traditional cycle is achieved by the genre enrichment of the second part – implementation of the Valse and using the variation form in the third part. Among the dominant principles of the development of the cycle and each part it is necessary to note the kaleidoscopic comparison of various thematic constructions and their variational replication. Among the performance and technical recommendations which are aimed at a deeper understanding of the architecture and expressive features of the work several of the most difficult moments of performance should be highlighted: attention to stroke and fingering nuances of performance are emphasized.

GENRE AND STYLE PALETTE OF PIANO WORKS BY BY VASYL BEZKOROVAINYI

Oksana Pysmenna — Sat, 10 Jun 2023 20:21:51 +0300

The purpose of the work is to reveal the stylistic direction of a number of Vasyl Bezkorovainyi's compositions, to identify the peculiarities of the transformation of Ukrainian folklore and the means of expressiveness of the romantic trend, and thus to trace their synthesis.
It is necessary to carry out a thorough comprehensive analysis of musical and expressive means – melody, harmony, rhythm – in accordance with the figurative and semantic load of piano compositions The methodological basis of the work is determined by the structure and artistic specificity of the object and includes: musical and stylistic approach and comprehensive musicological and structural analysis of the musical material itself.
The scientific novelty of the work is determined by the fact that it is the first to provide a comprehensive analysis of a number of piano pieces from several groups. The works in which the name of the genre is based on national roots are considered and analyzed: waltz, tango, kolomyika, foxtrot, as well as genres of «pure» music: nocturnes, songs without words.
Conclusions. Vasyl Buzkorovainyi's multifaceted piano works of various genres have artistic and pedagogical value. In all his compositions – in the arrangement of Ukrainian song and dance folklore, in the reliance on European dances and instrumental compositions of «pure» music – we observe the interpenetration of linguistic and stylistic signs of Ukrainian folk song and dance patterns and European music. Based on the models of the respective genre, the composer creates talented original compositions. In these works, the composer combines classical-romantic tendencies with some
manifestations of impressionism in the palette of stylistic features and language. Here we can observe a synthesis of harmonic, metrical, and timbral features of folklore and European music.
Prospects for further research. The numerous genres of the composer's piano works suggest the allocation of several more groups, and thus their study. These are the separate genres of miniatures (cossack, harness, march, poem), three sonatas and pieces for two pianos.

«NEOMIPH» IN THE FIGURATIVE DECOR OF TEMPLE AND PUBLIC BUILDINGS INTERIOR AND EXTERIOR DECOR OF EASTERN HALYCHYNA IN THE EARLY 20 TH CENTURY

Olena Yakymova — Sat, 10 Jun 2023 20:28:15 +0300

The aim of the paper is to present a review of figurative images in monumental sculpture and monumental painting of Eastern Halychyna of the early 20 th century.
Research methodology. Using the methods of description, analysis and systematization of found images in the decoration of temple buildings, residential and public buildings of the region, several typological groups of anthropomorphic images were distinguished. They are based on a number of characteristics. These images became the basis for conducting a comparative analysis of traditional mythological groups of characters and the formation of new mythogemas inherent in the outlook and art of the first third of the 20 th century. They are endowed with the characteristics of heroes of various orientations and functional purposes and played an important role in creating a new image of the Human being of the 20 th century on the territory of Eastern Halychyna. First of all, they have a nation-building character and are also a manifestation of the components of well-being, development and progress of the region.
Novelty. Interest in Human beings, thus their figurative and aesthetic reflection can be traced throughout the history of art, but each historical era formed its ideals and heroes-images characteristic only for it. The vector of searches for artistic and form-creating features of human characters and images changes depending on the worldview and philosophical doctrines and policies of the ruling elites of a certain historical period. In the outlined period, anthropocentrism become sone of the main characteristics and the search for the artistic disclosure of the possibilities of Man himself, the clarification of his nature, character and motivations, his roots.
Results. So, after considering the examples of images of historical, cultural and political figures in the monumental painting and sculpture of Eastern Halychyna in the early 20 th century we can note that Ukrainian artists, on a par with Polish and Western European artists, were motivated to develop two basic modern myths, in particular the image of a modern hero,
who is patriotically oriented and educated and appears as a generalized image of the people in the Ukrainian context, as well as a professional hero who personified progress, the movement and emergence of new professions, and accordingly changes in the surrounding world. Taking into account the fact that for a Ukrainian, the church has almost always been the center of spirituality and strength of the nation, a clear identifier of the people, the tradition of depicting the patrons and leaders of the people among the saints and the righteous was revived precisely in church painting.

THE SPIRITUAL EVOLUTION OF HUMANITY THROUGH THE PRISM OF THE HISTORY OF RELIGIOUS ART [Review of the monograph by Y.V. Bondarchuk «The history of religious art as a reflection of the spiritual evolution of humanity in the cosmic cycles of precession». Lvi

Serhii Vytkalov — Sat, 10 Jun 2023 20:38:43 +0300

The urgency of the problem. Modern life, considerable awareness of society, availability of information make it possible to touch on the study of those issues which relatively recently did not become the subject of scientific studies.
In this regard, the analyzed work is precisely the one in which, on the basis of a powerful body of documentary evidence, the author considered the spiritual evolution of humanity through the prism of fine art.
The scientific novelty of the study lies in the fact that, based on the analysis of a significant number of objects of material culture, the author proves that the coincidence of the main features of the religious life of one or another astronomical epoch and the characteristics of the zodiac sign dominant in this epoch is the result of the action not only of the human mind, but also of supermundane consciousness, marking the stages of the spiritual evolution of humanity.
The proposed concept fits into the modern interpretation of historical development from the standpoint of the post-nonclassical (monadological, totalological) approach, according to which, despite the fact that the world-historical process diverges into a multitude of various formations, it is equally understood as complete (total). The reason for the unity and integrity of history is the transcendent spiritual Absolute.

The practical significance of the research - the collected, processed and critically analyzed material will form an important basis for the development of the outlined issues in the future. It will also be useful for the network of higher education institutions, whose students must also know the evolution of cultural practices.

RETURN FROM OBLIVION (TO THE 70TH ANNIVERSARY OF THE DEATH OF COMPOSER VSEVOLOD ZADERATSKYI)

Mariia Ostapchuk — Sat, 10 Jun 2023 20:45:02 +0300

The urgency of the problem. In the context of the problems of national and cultural revival, the work of one of the original composers of Ukraine, a native of the city of Rivne, Vsevolod Petrovych Zaderatskyi, whose musical heritage is gradually returning to the professional stage and becoming the subject of scientific study, is explored.
Further study of this heritage will expand the subject area of national musical culture, qualitatively position Ukraine in the modern European cultural space.
The research methodology is based on the use of a number of methods, in particular the method of historical reconstruction, which provided an opportunity to restore the pages of the composer's creative biography, to form his creative parameters in the modern system of artistic coordinates; the cultural method, with the help of which it became possible to restore the general cultural context of his work and introduce the main results into scientific circulation; the biographical method became useful for clarification of certain pages of his creative biography, as well as revealing the influence of the family environment on the creative personality of the artist.
The scientific novelty of the research lies in expanding the general idea about the potential of the national cultural heritage, introducing new data about this composer‘s creative activity, which is aimed at revealing him as a sufficiently versatile personality.

IMPLEMENTATION OF INNOVATIVE METHODS AND EUROPEAN EXPERIENCE IN THE TRAINING OF AUDIOVISUAL PROFESSIONALS

Yaroslav Lupii ; Serhii Danylenko — Sat, 10 Jun 2023 20:58:58 +0300

The purpose of the study is to determine the future potential of the professional development of the audiovisual field in Ukraine, as well as the possibilities of introducing innovative methods into the educational process of students studying audiovisual arts based on the experience of European countries.
Research methodology. The following methods were used to achieve the goal: analysis and synthesis, to consider the multifacetedness and interdisciplinary nature of the educational process of audiovisual specialists, as well as the analysis of modern innovative processes of the pedagogical practice of the national higher school of cinema and television in the 21 st century, taking into account the acceleration of the development of digital technologies.
Results. The study proved that the further training of students in the field of audiovisual arts should take into account innovative methods of theoretical and practical implementation of elements of educational projects, as well as the experience of European countries in the field of cinema and television. At the same time, special attention should be focused on the study of curricula, organization of practical work and the structure of diploma theses of leading educational institutions in Europe, as well as research and generalization of theoretical and practical elements of educational projects aimed at developing the personnel potential of film and television production. Increasing the academic mobility of students and teaching staff, the appropriate logistical and methodological support of the educational process, the efficiency and quality of students' production practice will contribute to their professional integration and further employment in the chosen specialty, as well as the opportunity to become a new generation of directors, camera operators, film and TV presenters, and announcers of Ukraine.
Novelty. For the first time in domestic science, the essence and necessity of introducing new forms and methods of training students, future specialists in the audiovisual field of Ukraine, is thoroughly analyzed. The specifics of the implementation of new standards in the work of creative professions are revealed.
The practical significance. The material of this paper can be used for further research on the topic of innovative methods and European experience in the training of audiovisual professionals.

SPECIFICITY OF THE INTERNATIONAL COMPETITION-FESTIVAL MOVEMENT OF ACCORDION PERFORMANCE IN THE CONTEXT OF CHINA'S MUSICAL CULTURE

Dong Itao — Sat, 10 Jun 2023 21:06:08 +0300

The urgency of the problem is due to increased attention to the problems of international cultural cooperation between Ukraine and China in modern conditions. In this regard, a considerable number of Chinese students and postgraduate students gain various levels of professional education in Ukraine and try not only to master Ukrainian scientific methods, but also to actively promote information about their own cultural product in Ukrainian social organism. Therefore, a comparison of these methods and available material is useful for representatives of different countries.
The methodology of scientific research is based on the use of a complex of methods, in particular historical reconstruction, culturological, historical and others, with the help of which there is an opportunity to investigate the cultural space of China and to reveal the influence on its functioning of European forms of artistic self-realization.
The scientific novelty of the study consists in the publication of existing foreign cultural material in Ukrainian scientific space, the introduction of new information into the scientific circulation, the expansion of the understanding of Ukrainian researchers about the specifics of the organization of the festival-competition system in China and, with the help of this information, to expand domestic forms of cultural activity. It has been proven that the festivalcompetition movement of accordion music with the participation of the best musicians, which takes place in China, is a popular phenomenon and contributes to the active development of folk instrumental art in the modern period.
The practical significance of the research is revealed in the possibility of using its materials for the preparation of relevant comparisons in the system of organizing the training of specialists in the field of music.

A MURAL AS A WORK OF ART IN THE CONTEXT OF MASS CULTURE OF THE XXI CENTURY

Anastasiia Diachuk , Olena Vlasyk — Sat, 10 Jun 2023 21:19:56 +0300

Methodology of scientific research. The research is substantiated by a set of general scientific methods: sourcebased, analytical, source-based and historical (for processing scientific literature, reference materials and highlighting the peculiarities of the formation of the mural) and cultural approaches; evolutionary methods (to familiarize and determine the specifics of the development of this art in the context of mass culture of the 21 st century), as well as synthesis and typological methods (characteristic features of the mural).
The role of mural, street art in the context of domestic and foreign socio-cultural space is analyzed. Since murals can act as a means of communication of various social strata of society, and therefore, are an effective tool for creating a dialogue. It is noted that murals can be a means of communication between various social strata of society and therefore they are an effective tool for creating dialogue. It is emphasized that the popularization of images of murals on various web platforms and the coverage of the work of artists of this direction in the mass media helps to spread the ideas and slogans of the authors not only at the national level, but also at the world level; the activity of municipal mural projects is considered, their main goal is determined – the preservation and restoration of historically significant murals, as well as the creation of new murals with the involvement of the community, most importantly youth and the creation of new opportunities for monumentalists. Emphasis is placed on the fact that the mural not only reflects the picture of social consciousness, which was formed under the influence of certain factors on the worldview of a person, but also exerts an active influence, which leads to the transformation of the socio-cultural space.
Significant transformational influence in the process of solving most of the social problems of nowadays in the context of trends in the development of mass culture of the 21 st century makes a mural. Positioning themselves as creativity that has a significant impact on society, at the current stage they contribute to the possibility of awareness and rethinking of many urgent problems that concern each person in particular and the world community in general.

COVERAGE OF THE TOPIC OF NUCLEAR ENERGY IN THE FINE ARTS OF UKRAINE THROUGH THE PRISM OF FOREIGN EXPERIENCE

Daria Lutsyk — Sat, 10 Jun 2023 21:26:57 +0300

The purpose of this article is to analyse the main moments of the development of nuclear art in the visual arts of Ukraine in the context of foreign experience and rethinking nuclear fear.
Research methodology. Foreign publications on the impact of nuclear culture on society, art and pop culture have been analysed. Also, domestic publications on the study of nuclear energy in Ukrainian mosaic panels of the twentieth century, and modern interpretation and cultural rethinking of the events of the 1986 Chornobyl disaster were considered.
Results. The invention and development of nuclear energy has had a significant impact on the formation of the global cultural paradigm. In particular, humanity has long experienced «nuclear fear» because it feared a nuclear war. The beginning of the atomic era did not escape the attention of artists who expressed their feelings in their artworks, rethinking their nuclear fear or, on the contrary, their fascination with the «atom». In turn, public sentiment was reflected in popular culture through comics, literature, cinema, etc. In Ukraine, the image of nuclear energy was portrayed through monumental art. Thus, future generations have inherited many remarkable works of that time – mosaic panels by the best artists dedicated to nuclear power, which impress with their scale and picturesque execution. One of the world's worst environmental and man-made disasters, the Chornobyl accident, gave Ukrainian society a fresh look at nuclear safety and the fragile attitude to the environment. However, the revival of humanity's interest in nuclear issues in 2022 is unfortunately associated with the most intense escalation since the last century and a full-scale Russian-Ukrainian war.
Novelty. In the Ukrainian cultural space, the issue of the impact of nuclear energy on the visual arts remains poorly understood and unsystematic, despite the deep cultural implications of the issue, which fully affects the contemporary society of Ukraine. The article attempts to explore the representations of nuclear energy in the visual arts of Ukraine through the
prism of foreign culture.
The practical significance. The information contained in this article may be useful for Ukrainian researchers studying the development of atomic culture in the fine arts.

DESIGN IN THE CONTEXT OF MODERN CULTURAL DEVELOPMENT

Oksana Rykhlitska ; Anastasiia Tormakhova — Sat, 10 Jun 2023 21:40:07 +0300

The aim of the article is to investigate the peculiarities of the interpretation of the design phenomenon in the context of modern cultural development. In view of the presence of a large \ number of developments, which are devoted to separate areas of design development, research is urgently needed, which would summarize the general principles of design and present its role in today culture.
Research methodology. Seven major publications on the subject (scientific journals and books) have been reviewed. The obtained information was used to understand the peculiarities of the design and its features in modern culture.
Results. Design is a field represented by a number of different directions. It can be considered as a line of production activity based on the correlation between creative and practical components. At the same time, design is a complex phenomenon that allows broadcasting certain cultural values, acting as a means of spreading national and ethnic traditions. A promising direction is the study of design as a complex that has a cultural and historical background, is a source of national product formation, etc. Its specificity is determined by the processes taking place in society, and changes are implemented extremely quickly, responding to the needs of consumers.
Novelty. The novelty of the research is related to the disclosure of the potential of understanding design not only as a subject area, but also as a tool for the formation of a certain cultural and spiritual base of a national nature.
The practical significance. The results of the study can be used for further analysis of design features. Clarifying the specifics of design characteristics will allow them to be extended to the latest practices.