ЄВГЕН СТАНКОВИЧ. ПОЕМА-КОНЦЕРТ ДЛЯ СКРИПКИ ТА ОРКЕСТРУ: АВТОРСЬКІ ПРИЙОМИ ТЕМБРОВОЇ ДРАМАТУРГІЇ

Author(s): Yevheniya Sirenko / Language(s): Ukrainian Issue: 3/2014

This article is dedicated to Yevhen Stankovych, a famous Ukrainian composer of modernity. Yevhen Stankovych was born in 1942 in Svaliava (Transcarpatian Region, Ukraine). His works are the recipients of several awards, among which is his Chamber Symphony № 3 that was selected by UNESCO’s World Tribune as one of 10 best works of 1985. The composer’s works have been performed in Canada, the U.S.A., Germany, France, Switzerland, Finland, Spain, China, the Filipines and Yugoslavia and his works have been recorded on Melodiya, Analekta, ASV and Naxos labels.In this article "The Poem-Concert for violin and orchestra" is viewed in details for the first time. The composition was written in 2004 and it was the year of it's premiere at Taras Shevchenko National Opera House of Ukraine, performed by Dmytro Tkachenko (violin) and Ukrainian National Symphony Orchestra conducted by Volodymyr Sirenko. This composition is remarkable for its very unusual and interesting instrumental team: Violino solo, Percussion (Timpani, 5 Temple blocks, 4 Tom-toms, Campanelli, Tam-tam, Vibrafono, Marimba, Wind chimes, Piattosospeso, Gran cassa), Corno, Arpa and string orchestra. Violin is the voice of hero, striking with lyrical and dramatic content. Timpani is the voice of fate and Corn is the voice of truth that gives a lyrical and philosophical conclusion to the whole art composition and has a separate status in the dramatic art overall. Unusual combination of instruments in the Poem-Concert gives to performing ensemble its own structure and detects solo instruments in addition to Timpani and Corn, a basic violin solo. Timpani has significant melodiousness and Corn appears only at the end of the composition carrying out fundamentally new musical material. So, we can say that this composition’s music idea is mainly built by certain tone colors combinations, contrasts of tone colors, matching tone colors and because of content given to these tone colors by author. That is to say the connection of scenario development with tone colors changes and tone colors combinations is particularly prominent.At the heart of the dramatic composition development arises a conflict that is presented in details in the beginning and is a genetic feature of all is the composition’s tone colors. This is a conflict of timpani and violin, rhythmic conflict within the theme, conflict of manner of execution of material – solo and orchestra, genre and intonation conflict – recitation and arioso. Overall figurative and emotional composition development is directed from the imperative statement of the main theme to the gentle lyrical image of the final and relatively enlightened image of Coda.Violin compositions by Stankovych are characterized by a combination of various genres, overlay, intersection, etc. In this composition, author states in the title used basic genre models – Poem and Concert. Features of Poem are manifested primarily in the form of composition, its softened, imperceptible transitions between parts, lasting for a couple of measures. In other words, there is no formal, clear structure. And second unquestioning feature of Poem is the monothematic principle that is very convincing in this composition. Features of concert-like are determined primarily by the presence of violinist, the leading solo party and appropriate differentiation among orchestral groups.It can be declared that Stankovych is a modern tonal composer who uses within one composition different types and models of tonalities that agree with individual instruments and certain way: the more complex with simpler, the more modern with classic. Timpani themes and violin solo inherent complex tone colors of chromatic nature and horn theme is distinguished by a classic D-dur mode.Composition form may have several interpretations but the author himself defines the form as "chain", consisting of seven major episodes that are continuously connected. Also it is possible to interpret the first part as the sonata’s form. Composition’s themes are developed in two main directions: 1) modification of the main construction (the original topic); 2) the introduction of a new, contrasting thematic material. Also there are two main types of themes: 1) "laconic", 2) "singable" and composer integrally combines them in the Poem-Concerto where intro the theme of Timpani is basis. Its elements and rhythmic formulas are present in all episodes of composition. Using various means of intonation renewal, including polyphonic, they develop intensively. In the end of composition the main theme is confronted by a completely different thematic model: light and lyrical theme with brightly evinced cantillation and"endlessness" of sound. We can distinguish three main thematic complexes of this composition: 1) the theme of Timpani– "the call of fate"; 2) the monologues of Violin – lyrical reflection; 3) the solo of Corn – "the voice of truth".So, the Poem-Concert for Violin and Orchestra by Y. Stancovych is a significant composition in modern Ukrainian violin and symphonic music. This opus encourages listener to focus on his own soul and deep inner feelings, it’s the art in which Yevhen Stankovych, the composer and philosopher is fluent in.

ІДЕАЛ У ПРОСТОРІ КУЛЬТУРИ: КАТЕГОРІАЛЬНИЙ СТАТУС ПОНЯТТЯ

Author(s): Olha Ovcharuk / Language(s): Ukrainian Issue: 1/2014

The article from the analysis of categorical position ideal categories, based on a synthesis of scientific expertise in the context of his understanding of the cultural sciences as philosophy, philosophy of culture, art theory, the expediency of incorporating the concept of "ideal" in the categories of cultural studies.It is proved that the formation of new areas of human knowledge, including cultural studies needs to develop as a specific scientific methodology that would be served as effective tools for understanding cultural phenomena and meanings, and design appropriate categorical apparatus to reflect the intrinsic properties of the culture on which carried systematization of cultural phenomena.In the cultural sciences is the problem of systematization of an integrated system of categorical apparatus. Traditionally, its formation was carried out by loan categories and concepts in philosophy, political science, sociology, psychology, linguistics and other disciplines, and adapt them to meet the needs of cultural studies, some categories do not have direct analogues in other sciences and in need of development and self-justification, others – with regard to research updates tools can be reinterpreted from the standpoint of modern ideological context of values and meanings of classic categories and concepts borrowed from other fields of humanities. Calling into question the need for the solution of similar problems caused by the whole process of cultural knowledge, which made specific methods of analysis of culture and establish relevant cognitive model. In an ideal situation, we need to rebels understanding of this cultural phenomenon in modern cultural dimensions paradigm, which may create the conditions taking into account the best achievements of domestic and foreign philosophical reflection of the past.Despite the fact that in the modern scientific literature accumulated a large amount of research devoted to understanding how the ideal of philosophical and aesthetic (G. Gadamer, E. Kasyre, G. Cohen, G. Shpet, J. Boryev, O. Voevodin, L. Levchuk, V. Lychkovah, N. Vernygora, V/ Panchenko, L. Stolovych, V. Khmara, O. Ukhov, E. Yakovlev et al.), ethical (M. Brovko, Y. Afanasyev, V. Bitayev, A. Onishchenko, S. Ulanova, A. Fed, I. Fed et al.), teacher (G. Vashchenko A. Wisniewski, W. Kremen, A. Konovets, N. Kalita, N. Opanasenko, V. Sukhomlinsky, A. Skrynska), sociopolitical (B. Barkov, G. Dashutin, O. Kornienko, V. Lectorskyy, V. Makarenko, N. Mudrahey, A. Novikov, etc.). categories as cultural concept of science is not considered ideal.Methodological approaches to the study of the concept of the ideal articles selected categorical way of under-standing culture, serving as a mechanism of cultural studies. The proposed approach is, in turn, provides an analysis of the concept of the ideal as a category of philosophy and culture category from the standpoint of historicism. In this regard, noted that the problem categories occupied an important place in most philosophical systems of the past. Yes, overarching categorization of individual things classically represented in the teaching of Aristotle on the category. In modern times, the doctrine of the categories developed by representatives of German classical philosophy. For Kant's categories serve as a universal form, in which there is understanding of all things, a priori forms of mind, a way of summarizing lessons learned. The writings of Hegel’s theory of categories were developed in three plans – purely logical, historically, in the context of the whole of culture.In keeping with the Marxist tradition of scientific research conducted categorical framework of philosophy in general and the ideal, particularly national scientist’s 60-80-ies of XX century.The methodology of Cultural important place belongs to the categories as the most fundamental and substantial notion of cultural patterns, events, processes and relations, the essential characteristics of the culture, based on which the systematization of cultural phenomena studied and developed the methodology of knowledge. Based on the relevance of contemporary cultural studies methodological search as an interdisciplinary field of knowledge, universal knowledge which is the subject of culture, the problem of the theoretical ideal status category within cultural studies involves an appeal to the scientific understanding of the experience of this category in the space of the cultural sciences as philosophy of culture and art history.It is shown that a fruitful approach to understanding the categories and their role in the study of cultures of different ages invited prominent Soviet scientist A. Gurevich. S. Rubinstein in the "Man and the World" offers his approach to the categories of culture that takes into account the dependence of the definition of input from people in the circle of life. VP Bran proposed concept classification values that are inextricably linked with the appropriate classification of ideals. In connection ideals, norms and values indicate B. Hubman. Describing the process of designing social systems of the human being, as regards the ideal of a certain type of project that embodies the idea of the perfect man and the perfect organization of human life, the modern scientist M. Kagan. Based on the analysis in the article argues that it is the nature of the ideal values, specifying vectors for further development of culture and its focus on the future and ensure its projective character heuristic categorical potential dimensions of cultural knowledge with the ability to attract and humanitarian methods of social analysis. As a cultural category may be the ideal for the detection and understanding of the value and meaning of the cultural dimension in which the accumulated social experience any human communities.Thus, the validity of the concept of separation as an ideal cultural concept due to the fact that it integrates ideological, normative values and projective aspect of the intrinsic properties of the culture, it fixed axiological, epistemologi-cal and aesthetic features of the development of culture and its modifications reflect the dynamics of cultural transformations in certain historical stages. This creates conditions for further conceptualization of the notion of cultural ideals within the theory and history of culture through bringing modern methodological strategies.

ІДЕЇ НАЦІОНАЛЬНОГО МУЗИЧНОГО ВИХОВАННЯ У ДІЯЛЬНОСТІ ПЕРШОГО ГАЛИЦЬКОГО КОМПОЗИТОРА М. ВЕРБИЦЬКОГО

Author(s): Lyubomyr Martyniv,Olʹha Martyniv / Language(s): Ukrainian Issue: 3/2013

The article examines the idea of national musical education in the work of M. Verbitsky (first Galician composer). The characteristic musical and educational activities musician educator.

ІКОНОПИС КИЄВА ТА КИЄВО-ПЕЧЕРСЬКОЇ ЛАВРИ: кінець XVII – початок XIX ст. (базові терміни дослідження та їх значення)

Author(s): Olga Olegivna Ryzhova / Language(s): Ukrainian Issue: 1/2018

The purpose of the article is to clarify such basic concepts as "school", "workshop", "artistic tradition", "style", "manner", "idea", "theme", "story", "traditions" in the context of the iconography of Kiev and Kiev Pechersk Lavra. The methodology of the research is to apply principles of historicism and systematic comparative analysis. Scientific novelty is to clarify the role and meaning of the terms "school", "workshop", "artistic tradition", "style", "manner", "idea","theme", "story", "traditions" of the examples. Conclusions. As a result of the research, it is established that the term "school" defines the association of monuments on a territorial bases (place of creation) Kiev, Kiev Pechersk Lavra; this is a local phenomenon that is caused by territorial limits. "Workshop" is a term mainly used in the context of studying the monuments of fine arts of the Lavra; it means masters, work-related over some objects or orders. Its system of samples in each school in the middle of the XVII century created prerequisites for the formation of various artistic traditions of Kiev and Lavra. Kyiv artistic tradition in the iconography formed with the focus on the samples of European baroque and Mannerism, Lavra’s based on Greek, Athonite, Cypriot. It should be noted that in addition to baroque trunk line (style) in Kiev and Lavra iconography polystylism is a parallel artistic tendency. The main ideas that found a special reflection in the art of the Lavra monastery are the "idea of the Crucified", the theme “The Virgin”, "Lavra as the Destiny of the Virgin", the theme of monasticism is dogmatically connected both with the concept of the Crucified Christ, and with the Mother of God motives. These ideas served as the basis for creating passion motives that make up a separate cycle in the Lavra fine arts, the Virgin plots, which received a special Kiev and Lavra editorship and compilation of iconography of subjects connected with the depiction of St. Fathers of the Caves. Canon Traditionally, for the iconography of the Lavra, was the Greek icon as a model of divinely inspired sacred art; leading works, which icon painters of Kiev oriented on (i.e., the canon), were icons created for iconostasis of the Kiev Pechersk Lavra.

ІМПРЕСІОНІСТСЬКО-СИМВОЛІСТСЬКІ СКЛАДОВІ СТИЛЬОВОГО НАПОВНЕННЯ ТВОРЧОСТІ В. БАРВІНСЬКОГО (НА ПРИКЛАДІ СОНАТИ DES-DUR) І М. КОЛЕССИ (НА ПРИКЛАДІ СОНАТИНИ)

Author(s): Tatyana Chaban / Language(s): Ukrainian Issue: 1/2018

Purpose of the Article. The study concentrates on the identification of stylistic indicators of impressionism and symbolism in the works of Vasyl Barvinsky and Mykola Kolessa; in whose traditionalist pro-romantic orientation we find the elements of the impressionist-symbolist expressiveness within a writing style. The methodology of the study is de-termined by the intonational approach within the framework of B. Asafyev's school in Ukraine; methods of stylistic com-parative and musical hermeneutics are singled out; which allows us to identify in the musical analysis the stylistic features; which were not previously specified in the characteristic of works of the mentioned authors. Scientific novelty of the research occurs because for the first time in musicology of Ukraine; in the piano compositions of the mentioned com-posers through the analysis were revealed the features of connection with the musical modern in the form of using the means and expressive components of impressionism and symbolism. Conclusions. The analysis of Sonata of Barvinsky and Sonatina of Kolessa is unique in identifying the indicated stylistic components; which gives these works a special kind of "encryption" of revealing national folkloristic features in them; bringing them closer to neoclassicism in its "soft" manifestation; as observed in the work of M. Medtner; M. Ravel; H. Villa -Lobos and other outstanding composers of the twentieth century. As a part of postmodernism; style fixation of which has a neo-symbolist orientation; mentioned appeals to Impressionism-Symbolism are demonstrated in the auditory perception of the composition of Western Ukrainian mas-ters by encouraging appropriate repertory election of performers.

Інсталяція як візуально-видовищна форма сучасного образотворчого мистецтва

Author(s): Katerina I. Stanislavskaya / Language(s): Ukrainian Issue: 24/2010

Specifics and history of installation as visual-show form of modern fine art are researched in the article.

ІНТЕГРОВАНІ ВИМОГИ ДО ПРОЕКТУВАННЯ КАРТОНАЖНО-ПАПЕРОВИХ ПАКУВАНЬ

Author(s): Oksana Chueva / Language(s): Ukrainian Issue: 4/2013

The publication gives a comprehensive study of the phenomenon in relation to the integration of the design of products and packaging requirements for this type of product. The article discusses the importance of artistic and imaginative problems as the integrator and the state of relations between other components that affect the design process of packaging cardboard and paper and composite materials. The article shows the leading role of the arts- and artistic – project works in the creation of packages and in updating reporting system on goods that were made using these projects. Here we analyze scientific and journalistic materials on various aspects of the issue of designing packages. Such analyze allows to notice common thoughts of many scientists and researchers on the issue of large "compression" requirements for the design of cardboard and paper packaging and appropriate recognition of the integrated nature of the full range of packaging products. We consider the meaning and application of the scientific term "integrator" and its application to graphic design and packaging design directly. It is emphasized that the art-pattern problems are principal for the whole complex problem groups that exist in the process of designing packaging and play a role of an integrator. The use of the term integrator focuses on the specifics of the design. It cannot be considered as a simple summation of all the specified set of require-ments. The project activity, by its very nature does not involve the use of "ready-made forms" and the universal "tem-plates" for all design objects. Instead, it requires to make a choice in the direction to the optimal balance of all designated aspects and secure this balance in the forms of the design object. The conclusions were made about the integration processes in which integration does not play a role of a "mediator" between independent phenomena and processes, but makes these connections interpenetrative. In the future, this will affect the quality, efficiency and attractiveness of pack-aging products for different groups of potential consumers. The article examines the concepts of "imagery" as a set of tools that form an integral graphics solution that combines both visual and text elements. The design of the packaging industry encompasses, determines and maintains a collection of factors that do not fall within the exclusive form of decoration, but rather a combination of shapes, materi-als and design features is a significant factor in the formation of the outer packaging holistic vision of the future. Excessive cost of packaging that increases the cost of the packaged goods occupies a significant place among the material and constructive issues. The issue of innovation in creating an environmentally friendly packaging is touched on in the article. Their implementation and continued use in the consumer market is a priority for developers of innovative materials. Ecology today not only talks about the environment, but also about excessive information, so called the "visual-information noise" that pollute social and spiritual space for active and passive consumers. The number of graphic-content components plus the image, identity, brand names, and product names come into competition with each other. This problem reduces the effectiveness of the impact shaped packages. The axis of the integration is highlighted with respect to the packaging of products, based on discussed problem groups and the connections between them. The arti-cle gives the outline for the types of relationships between them.

Інтердисциплінарні аспекти дослідження камерно-інструментального мистецтва в контексті куль-турологічної доктрини сучасного музикознавства

Author(s): Anastasia Igorivna Kravchenko / Language(s): English Issue: 3/2017

The purpose. The article is devoted to the theoretical crystallization of methodology and the discovery of the semiological significance of culturological art criticism in the complex study of the chamber art of Ukraine. Methodology. Methods of historiographic, chronological analysis and interdisciplinary approach have been applied. Scientific novelty consists in the categorical crystallization of the methodological foundations of culturological art criticism and the definition of perspective tasks of understanding the chamber art of Ukraine in the discourse of the semiotic paradigm of culture of late 20th and early 21st centuries. Conclusions. The analysis of the special literature reveals the importance of comprehension the chamber art in an integrated way based on the strategy of culturological art criticism, which includes the integration of historical-style musicological analysis and systemic-semiotic, hermeneutic methodological approaches of a wide range, namely, the application of research instruments of the philosophy of music, musical textology, semiotics, aesthetics, intermedial theory and cultural hermeneutics. Taken together, this lays the foundation for a new cultural doctrine of contemporary musicology that leads to a comprehension of the historical, cultural, semiotic and intermedial problems of chamber art in the context of the universalistic aspects of postmodern culture. From this perspective, the need for aesthetic, philosophical and cultural studies of the chamber art of Ukraine in terms of solving the following urgent problems: the definition of the characteristics of the sign-intonation traditions of the chamber ensemble and the disclosure of their semiotic significance in the development of the musical culture of Ukraine in the postmodern era; the study of the intertextual and intermedial aspects of logic and the semiology of the creative process; the formation of the aesthetic-hermeneutic concept of modern chamber performance in the semiotic context of a new system of artistic communication based on interactivity and intermediality.

ІНТЕРПРЕТАЦІЯ МІФОПОЕТИКИ В УКРАЇНСЬКОМУ МИСТЕЦТВІ

Author(s): Olena Sergeevna Kolesnyk / Language(s): Ukrainian Issue: 4/2013

In the contemporary art there is a strong tendency of returning to the archetype imagery, which is sometimes seen as a means of finding one’s origin and identity in the globalized world. The archetypal images are sometimes generated by author’s subconsciousness, but, perhaps, more often are borrowed from the folklore tradition, which includes some very ancient mythopoetic elements. Ukrainian artists have always widely used the folklore motifs, either inherited or reconstructed. Among the most important ethnic archetypes are usually mentioned Sky, Earth, Word, Mother, House etc; the main archetypal ideas are Sophinity, Cordocentrism, Antheism. Being transcendental, archetype can be present in the work of art only as an archetypal image or symbol, that combines the universal with the concrete and unique. That’s why a real work of art must not copy the existing examples, but re-create a myth. It is a very difficult task, as such a work of art must be believed into, it must explain the world and state the cardinal values for a person and a nation. Some Ukrainian artists successfully coped with this difficult task. Others were not so ambitious, but also used numerous folk motifs to achieve the higher level of generalization. So quite a number of the works can be seen as the artistic interpretations of the mythopoetic.The mythopoetic Cosmic structures have influenced the themes and imagery of Ukrainian musicians, artists, and writers. In music there are numerous arrangements of the folk melodies, including those of the ritual songs. In painting there are both pictures on the folklore subjects and those endowing the commonplace objects with the archetypal quality. Perhaps the most interesting case is the complex of works by Taras Shevchenko. He was not only a poet and writer, but an artist able not only to depict different aspects of the folk life, but to show in one picture the synthetic image of "Ukraineness" (Katerina). He is often called the creator of Ukrainian national identity, and with good reason. It is true, because his works defined the past, the present and the possible future of the group of people with the language, mentality and self-consciousness so distinct, that it was no longer possible to honestly consider Ukrainians to be an ethnic variety of Russians. Almost all the succeeding Ukrainian writers and artists followed his example. And even the authors whose main works are written in Russian, as is the case with M. Gogol, made a contribution in the development of the national idea, as they implied the history, mentality and self-identification of Ukrainians quite different from those of other nations of the Russian empire.The most typical feature of the mythopoetic in literature is the multi-level symbolism that allows seeing the deeper senses behind the life-like pictures. The most vivid examples include G.Skovoroda’s artistic philosophy, T.Shevchenko’s myth-making and Lesya Ukrainka’s folklore reimagining. If Shevchenko was concerned with the social and the national, Lesya Ukrainka, the other outstanding Ukrainian myth-maker, showed a very different ability as she depicted the inner conflict of the soul. Her main work is also full of strikingly modern ecological insights.In the historical genre the writers sometimes depict the irrational bases of the ethnic culture. We can take as an example of showing the hidden inner world of the nation the different interpretations of the phenomenon of "Kharakternitstvo" (Cossack battle magic). In mid XIX ct P. Kulish in his Black Council depicted a Kharakternik as a person who is supposed to have some magic skills, which the author neither denies nor confirms. One hundred years later O. Ilchenko wrote a novel that can be classified as an example of the Magical Realism, where the hero clearly has supernatural abilities. In the art of the new millennium Kharacternitstvo can be depicted both as a strict historical truth, and as a pretext for the patently incredible steampunk-like adventures (as in the internationally prized graphic novel Daogopak). On the other hand, there are such works that avoid the showy effects but create the atmosphere of the past-as-eternal, as in O. Sanin’s film Mamai. Anyway, in almost all the cases the theme of Cossak-warlock is treated as a very important and very evocative for Ukrainian public.Rather typical for World and Ukrainian art is the re-creation of the myth-like elements in fantasy. The techniques differ. Sometimes it is a modern retelling of a folk story. In the genre of the Urban fantasy there is an example of complex mythologisation of a city with its multi-level history (as in Lada Lusina’s cycle Kyiv Witches). Generally the works of Ukrainian writers of different genres tend to depict a meaningful, well-structured, harmonious Cosmos. But the historical facts and the modern state of affairs result in that one of the most typical motifs is a destruction of this harmony that people must take care to overcome.

Інформаційне середовище України на межі ХХ–ХХІ століть

Author(s): Adriana Skoryk / Language(s): Ukrainian Issue: 22/2012

The last century has brought adverse communication processes to a new level. It’s phenomenon in the range of national romanticism to contemporary pragmatism formed a 257 sort of spiritual aura society of the period, in accordance to their own needs, traditions and values. Important are common principles channels PHI in the subject of cultural programs.

ІНФОРМАЦІЙНО-СЕМАНТИЧНИЙ ЗМІСТ МОНУМЕНТА РАМСЕСА ІІ У ЧАСОПРОСТОРІ

Author(s): Kateryna Gamaliia / Language(s): Ukrainian Issue: 1/2018

Purpose of the article is to investigate and analyze the transformation of the initial information-semantic content of the Egyptian pharaoh Ramesses II (XIII B.C.) monument by the subsequent re-creations and interpretations in other arts by paying particular attention to the activities of Ukrainian researchers. The methodology of the study is based on the use of diachronic and comparative-historical methods for determining the transformation of the information-semantic content of the ancient Egyptian monument, method of analysis and induction to establish general conclusions regarding semantic reproduction and interpretations, a semiotic method for detecting a changed or embedded meaning. Scientific novelty of research is to develop cross-cultural links between ancient Egyptian art and Ukrainian cultural heritage. The identification of contribution of representatives of Ukrainian culture (B. Lyatoshinsky, V. Mysyk, L. Ukrainka) to the development of Egyptology is achieved by comparison in the chronotope of the semantic content embodied in their works with the original ancient Egyptian. Conclusions. A work of art performed within its timeline, within its canon, eventually gains a de-canonized expression, containing a much more significant or altered sense than the one that was laid in at the time of creation. The information-semantic content of the ancient monument is something varying depending on the subjective perception, as well as on the transformation through the prism of historical, natural and ethnocultural factors, which are given by the translator. The study of this transformation in subsequent reproductions and interpretations by the Ukrainian culture figures opens a new way of the art analysis of the monuments of ancient Egyptian art. In comparison, the methods of studying linguistics and art sciences were particularly useful.

ІСТОРИЧНА ДИНАМІКА ЕЛЕКТРОМУЗИЧНОГО ІНСТРУМЕНТАРІЮ: перша половина ХХ століття (частина друга)

Author(s): Eugen Kushch / Language(s): Ukrainian Issue: 1/2013

Historical aspects of development of electronic musical instruments of the 1-st half of the XX century are researched in the article. The author analyzes main engineering concepts and evolution of timbre and dynamical means of expression.

Історичні аспекти розвитку дереворізьблення Київщини у 20-х – 30-х роках ХХ століття

Author(s): Vasyl Pavlovich Shevchuk / Language(s): Ukrainian Issue: 22/2012

The article discusses the development and functioning of national derevorizblennya in Kiev in the 20 – 40 of XX century. The influence of social and historical conditions prevailing in the period of Soviet power, the creativity of folk artists, features their work in art and industrial workshops, cooperatives, promkooperatsiya, factories. Determined the effects of interference of authorities in folk art. The article highlights the specific exhibition and museum of the new government. Focuses on the active implementation of the works of folk art new creative method – social realism.

Італійські маньєристи при європейських дворах у XVI – на початку XVII століть

Author(s): Yulia V. Romanenko / Language(s): Ukrainian Issue: 20/2011

The purpose of the essay is analysis of periods of creative work of Italian artists as styles’ creators. Spanish and English directions have been demonstrated among the most important.

Јавност на Полубратска б.б.

Author(s): Stanko Pavleski / Language(s): Macedonian Issue: 60/2008

ЯВОРОВ И ТЕАТЪРЪТ РАЗШИРЯВАНЕ НА КУЛТУРНО-ИСТОРИЧЕСКОТО МУ НАСЛЕДСТВО – ДРАМАТУРГИЯ, ПРЕВОДИ, ТЕАТРАЛНА ДЕЙНОСТ

Author(s): Miroslava Kortenska / Language(s): Bulgarian Issue: 2/2019

This report is based on research of the dramaturgical, theatrical and critical work of P. K. Yavorov which has certainly broadened the real boundaries of his cultural and historic heritage that he left to Bulgaria, Europe and the world. The survey is based on elaborating a theatrical chronicle of each day of Yavorov’s life, as well as reading of protocols of the National Theatre in Sofia written by Yavorov himself. In 1908 Yavorov became an artistic secretary, director and translator at the National Theatre. After 1910 he dedicated himself to dramaturgy and wrote his drama masterpieces At the Foot of the Vitosha Mountain and When Thunder Strikes How the Echo Fades Away. The scientific analysis of his works and the documents has expanded the volume of Yavorov’s heritage, outlining his more valuable contribution to the new Bulgarian culture and adding to Yavorov’s eternal poetic heritage his contribution as a theatrical worker – a playwright, director, translator, theatre critic as well. Thus, Yavorov appeared as a builder of the important cultural institution in Bulgaria after the Liberation – the National Theatre. This research is a convincing evidence of his cultural and historic heritage and contribution not only to Bulgaria and its culture but to the European and world ones

Як Катерина Фурцева у Москві в 1972 році допомогла українцям відстояти свою “незалежність” (сторінки історії)

Author(s): Mikhailo Krivolapov / Language(s): Ukrainian Issue: 18/2010

The article is about the fine arts activity in Ukraine during the period of 70-s and about the exhibition of Ukrainian fine artists, devoted to the formation of USSR. The author describes the intensive creative and artistic activity of that period and covers the interesting facts about the development of history of Ukrainian fine arts, where participated himself as a head the department of fine arts of Ministry of Culture of Ukraine. Author analyses also the creative and artistic activity of that period and mentions facts about the fine arts critic, where achievements of artists were described. The facts about the activity of the Ministry of Culture of the USSR and the Union of fine artists of the USSR are mentioned also.

Яким Банчев и неговото художествено наследство от бойните полета през Балканските и Първата световна война – между интимния портрет и баталната живопис

Author(s): Plamen Petrov / Language(s): English,Bulgarian Issue: 2/2016

Yakim Banchev is one of the Bulgarian painters, whose life and career have remained almost unknown to the general public and research communities. Studying Bulgarian and international archives in 2013/14, I was offered the opportunity to find tens of unknown facts about the painter and his oeuvre. Fragments of these were put on display in the exhibition Committing to Memory: Yakim Banchev: Between the Man and the War in 2014, at Vaska Emmanuilova Gallery, Sofia. The paper focuses on the two creative capacities of the painter that have shown themselves pronouncedly in the Balkan Wars and WWI. The former reveals him as a great expert in the artistry to commit personal agony to paintings, while the latter presents him as a documentarian, unique to Bulgarian arts, whose painting renders visually and emotionally the carnage on the battlefields during the 1910s.

Яна Язова – музикални и културни паралели

Една хипотеза за драмата като inventio за музикалното произведение. Arnold Schering, Beethoven und die Dichtung

Author(s): Neva Krysteva / Language(s): Bulgarian Issue: 5/2014

Yana Yazova’s work brings us back to the cultural environment integrity problem, the interaction between the arts, the critical thought, i.e. the components of placing Bulgaria into European culture, from the Antiquity to Nietzsche’s time – without missing any stages, without ignorance and darkness (“in which theft and murder take place”), without forbidden books and burnt manuscripts. Reality has turned Yana Yazova into an example of cultural hermitage that is rare among Bulgarians, one that reminds of Nietzsche’s own. According to Schindler, at the heart of a musical work there is only discovery (inventio), a spark, an idea. Here we outline our main points: 1. how Beethoven’s thinking, apparently both literary and musical, inspired the Late Romantic Gesamtkunstwerk (Wagner); 2. comparison of French programmatic music, such as Berlioz’, and the characteristic genre music of the 13th century, such as Beethoven’s Pastoral Symphony; 3. the absolute music towards the end of the 19th century, Hanslick’s Tönend bewegte Formen and Geistfähiges Material, and more musical interpretations (see the correspondence of Liszt with Wagner and Brahms with Joachim); 4. musical work is considered autonomous when compared to what; 5. the dispute between formalists and hermeneutics. Similarly to Beethoven’s thoughts, the existential layer of Yana Yazova’s work, her cultural hermitage, is inseparable from all she has left us in her carefully prepared and edited writing. In European cultural environment, Schering’s time, which coincides with Yana Yazova’s, is still within European cultural situation’s unity and integrity.

Яначко Станимиров от Брезе

Author(s): Ivanka Gergova / Language(s): Bulgarian Issue: 4/2016

The paper deals with a miscellany in handwriting (SS Cyril and Methodius National Library 1088), compiled in 1840 by Yanachko Stanimirov from the village of Breze and the local priest. The autographs of the icon-painter are used to identify his paintings. His unknown mural ensemble in the Serbian Yillage of Dojkinci is presented in brief. It is assumed that Yanachko Stanimirov has been strongly influenced by icon-painter Kosta Valiov from Samokov, whose journeyman he supposedly has been. Influences of some icons by icon-painter Priest Rade are discernible. Yanachko Stanimirov has used as a model prints contained in the Euchologion, published in Venice in 1761.