No. 42 (2022): UKRAINIAN CULTURE : THE PAST, MODERN, WAYS OF DEVELOPMENT Branch : Art Criticism

HISTORICAL AND ARTISTIC HERITAGE OF UKRAINE IN THE CONTEXT OF THE WORLD CULTURE

• «СВІТОВИЙ КУЛЬТУРНИЙ ПРОСТІР КРІЗЬ ПРИЗМУ СУЧАСНИХ ГЛОБАЛІЗАЦІЙНИХ, ПАНДЕМІЧНИХ ВИКЛИКІВ ТА ВІЙНИ» : до результатів проведення ХVІІІ міжнародної науково-практичної конференції в РДГУ

  Vytkalov Serhii, Vytkalov Volodymyr

  3-7

  • *pdf (Українська)
• PARALLELS BETWEEN FRENCH AND ENGLISH COURT GENRES IN THE FIRST HALF OF XVII CENTURY

  Sokolova Alla

  8-14

  • *pdf (Українська)
• UKRAINIAN NEO-BAROQUE : HISTORY AND PRESENT

  Pishchanska Viktoriia

  14-21

  • *pdf (Українська)
• EXHIBITION ACTIVITIES OF UKRAINIAN ARTISTS IN TIME OF WAR AND ABOUT WAR

  Lukovska Olha

  21-27

  • *pdf (Українська)
• THE ESTABLISHMENT AND DEVELOPMENT OF HARMONIC AND BAYAN-ACCORDION INSTRUMENTS PRODUCTION IN THE XXTH CENTURY OF UKRAINE

  Reznik Olena

  27-35

  • *pdf (Українська)
• THE ROLE OF ETHNIC CULTURE IN THE DEVELOPMENT OF UKRAINIAN ENTERTAINMENT CULTURE IN THE SECOND HALF OF THE 19 TH – EARLY 20 TH CENTURY

  Yasiuk Tamara

  35-41

  • *pdf (Українська)
• UPDATE OF THE GENRE OF THE FOLK SONG’S ARRANGEMENT IN THE VOCAL HERITAGE OF VITALIY KYREYKO

  Tsiupak Karabulut Victoriia

  42-48

  • *pdf (Українська)
• MUSICAL FORMATION OF THE SHCHEDRIVKAS OF THE WESTERN PODILLYA

  Smoliak Oleh; Protsiv Liliia

  48-58

  • *pdf (Українська)
• UKRAINIAN FOLK SONGS IN THE REPERTOIRE OF SOLOMIYA KRUSHELNYTSKA

  Dovhan Oksana, Smoliak Oleh

  58-64

  • *pdf (Українська)
• ZHANG QIANYA'S INSTRUMENTAL ENSEMBLE «FAREWELL» IN THE DIALOGUE OF CULTURES PROJECTION

  Zhang Zeyi

  64-69

  • *pdf (Українська)
• THE MUSICAL LANGUAGE OF LIU HANLI'S CONCERTO «TSZIN’ LINGSI – REFLECTIONS ON THE CITY» FOR ORCHESTRA OF FOLK INSTRUMENTS AND YANGQIN”

  Ren Jiaqi

  69-76

  • *pdf (Українська)
• «IN THE BEGINNING» BY EINOJUHANI RAUTAVAARA AS A RESULT OF THE COMPOSER'S CREATIVE SEARCH

  Frolova Victoria

  77-85

  • *pdf (Українська)
• DEVELOPMENT OF BALLROOM CHOREOGRAPHY IN THE COUNTRIES OF CENTRAL ASIA IN THE SECOND HALF OF THE 20 TH – BEGINNING OF THE 21 ST CENTURY

  Pavliuk Tetiana

  86-91

  • *pdf (Українська)
• ANDEAN MOTIVES IN PERUVIAN GUITAR MUSIC

  Filatova Tetiana

  91-102

  • *pdf (Українська)
• AS TO THE QUESTION OF THE UKRAINIAN HISTORIOGRAPHY OF AUDIOVISUAL ART AND PRODUCTION

  Pecheranskyi Igor

  103-108

  • *pdf (Українська)
• DIGITAL ART : DEFINITIONS AND ORIGIN

  Chikarkova Mary

  108-113

  • *pdf (Українська)
• USE OF INTERNET-DISCOURSES CONNECTED WITH TV MEDIA AND STREAM BROADCASTING DURING THE PROCESS OF MAKING THE «NETFLIX EXPERIENCE»

  Shevchuk Yuliia

  113-120

  • *pdf (Українська)
• «CLASSICAL CROSSOVER» AS A MASS-CULTURE PHENOMENON OF THE «THIRD RANGE»

  Shevchenko Darya

  120-125

  • *pdf (Українська)
• AUTHOR'S LITURGY OF VICTORIA POLYOVOY IN CONTEXT SUCCESSFUL UKRAINIAN PARALITURGIC MUSIC

  Яремчук Олена , Shvets Nataliia

  125-130

  • *pdf (Українська)
• HISTORICAL AND WORLD-VIEWING FOUNDATIONS OF THE CREATION OF «MAMAIANA» – A SERIES OF SCULPTURE WORKS BY VOLODYMYR NAKONECHNYY, DEDICATED TO THE MAMAYU COSSACK

  Bushak Stanislav

  130-137

  • *pdf (Українська)
• CULTURAL AND ARTISTIC PROPERTIES OF THE KHMELNYCH REGION (THE WORK OF PETR MALYSH)

  Demianiuk Maria

  138-143

  • *pdf (Українська)
• MARIA IHNATIUK : CREATIVE DYNAMICS AND ACMEOLOGICAL CONSTANTS OF ACTIVITY

  Fedorkiv Oksana

  144-151

  • *pdf (Українська)