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Activity and Competences of a Music Education Teacher: Expectations of Lithuanian and Foreign Students

Author(s): Jolanta Lasauskienė / Language(s): English Issue: 2/2018

The purpose of the present study was to investigate student music teachers’ expectations towards their future professional activity and competences of a music teacher. Two groups of students (76 Lithuanian and 64 foreign), who chose studies at Lithuanian University of Educational Sciences, participated in the research. In this article, the results from the qualitative survey carried out in 2017 will be highlighted. The results showed that in music education it is particularly important to combine orientation towards pedagogical activities with orientation towards the spread of the learner’s personality. The music students at the University describe their future professional activities as broad and multidimensional ones but they also emphasise the importance of personal values, implementation of general, subject-specific, professional (didactic) competences and continuous improvement. Participation in musical and artistic activities plays a specific role in the spread of professional identity of a music teacher.

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Būsimųjų muzikos mokytojų rengimas įtraukiajam ugdymui

Author(s): Emilija Sakadolskienė,Rūta Girdzijauskienė / Language(s): Lithuanian Issue: 3/2018

Today inclusive education encompasses many more types of “otherness” than before. Systems like the Universal Design for Learning encourage us to consider the abilities of all learners, not just those with disabilities, yet in-service and preservice teachers feel unprepared to teach diverse populations of students, accounting for negative attitudes towards inclusion. Changing the dispositions of future teachers is no easy task. For teacher education to become transformative rather than reproductive, many researchers have pointed to field experiences as being the key to success in changing teacher practices and dispositions. Since field experiences involve collaboration between the pre-service teacher and the school-based mentor, the aim of this research was to examine the voices of participants and prompted these research questions: how are future music teachers being prepared by university-based teacher education programs for inclusive classroom practice? What problems do pre-service music teachers face during field experiences? What challenges do school-based mentors face when guiding student teachers to work with diverse pupil needs? Focus group discussions were chosen as the method of data collection. Three groups consisted of bachelor-level students from two Lithuanian universities. The fourth consisted of six music teacher mentors.

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Витоки мистецтва та виховання у стародавньому Китаї

Author(s): Marina Olegovna Antoshko / Language(s): Ukrainian Issue: 2/2020

The purpose of the research is to study the problem of the origins of Chinese art, in particular, the topic of musical education, which is interesting for its history, dating back to antiquity. The article also raises issues of music and theatrical origins. The methodology uses comparative, historical, and biographical methods in the study of this subject. The scientific novelty of the article is to study the actual problem that has arisen in the educational system, to study in more detail the origins of musical education, as well as to clarify the role of music and theater in China. The originality of the art of this country is not fully understood, with its ancient traditions. Conclusions. On the basis of studying the problem of China's musical education, we discovered the processes of development and modernization. Were also studied the problems of art, especially the formation of music in China and the musical and theatrical art, through the study of folk sources. The article also presents ancient samples of musical instruments. The main epochs marked by important events in the cultural life of China are vividly highlighted. At the moment, the culture of education and musical and theatrical life is not fully understood, which is of great interest for further study.

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Еволюційні шляхи розвитку фортепіанного етюду в українській музиці XIX-XX століть

Author(s): Diana Gultsova / Language(s): Ukrainian Issue: 2/2020

The purpose of the article is to identify the poetic-intonational and genre specifics of Ukrainian piano etude XIX-XX centuries. in the context of the style searches of the mentioned period, as well as the general evolution of the genre. The methodology of the work is the intonational concept of music from the perspective of intonational-stylistic, etymological analysis inherited from B. Asafiev and his followers. The following approaches also proved to be essential for this work: analytic musicology; genre-style; interdisciplinary, giving the opportunity to attract concepts from other areas of knowledge-philosophy, art history, cultural studies, etc.; historical and cultural, allowing to identify the factors that contribute to the identification of spiritual-semantic and stylistic specificity of Ukrainian piano etude as an essential component of European instrumentalism of the XIX-XX centuries. The scientific novelty of the article is determined by its analytical perspective, which takes into account not only the identification of the genre-style specificity of a piano etude in Ukrainian music of the late XIX – first half of the ХХ century but also its inscription into the context of the general evolution of the genre. Conclusions. Ukrainian piano etude XIX-XX century – a significant contribution to the historical development of this genre. His samples in the heritage of V. Kosenko, B. Lyatoshinsky, A. Shtogarenko, and others demonstrate not only the stylistic signs of creativity of the authors mentioned but also the familiarity of the Ukrainian piano music with the conceptual and avant-garde typology of the etude, which was formed at the intersection of genre-style searches of European modern culture (neoclassicism, baroque, romanticism), the formation of the Ukrainian national instrumentalism and performing arts.

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ФЕНОМЕН ПРИДВОРНОЇ МАСКИ У ТВОРЧОСТІ АНГЛІЙСЬКОГО ПОЕТА І ДРАМАТУРГА БЕНДЖАМІНА ДЖОНСОНА

Author(s): Alla Sokolova / Language(s): Ukrainian Issue: 1/2020

The purpose of the study is to analyze the work of the English court playwright and poet B. Johnson, to identify the genre features and principles of dramaturgy in the structure of the musical-theatrical performances of Masques composed by B. Johnson. The research methodology assumes the unity of such methodological approaches as a system-historical and comparative analysis method. The system-historical method allows us to trace the main stages of the work of the playwright B. Johnson. The comparative method was applied to identify the genre features of B. Johnson's Masques and the basic principles of the genre's dramaturgy. Scientific novelty lies in an attempt to comprehend B. Johnson’s creative activity and determine the reasons for the flourishing of the Masques genre, which coincided with the period of B. Johnson’s work as a court playwright at the Stuart’s royal court. Conclusions. Thanks to the talent of B. Johnson, the Masque reaches its peak. It was revealed that the plots of Masques composed and staged on the White Hall stage by B. Johnson were associated with ancient themes, folklore and contemporary English plots. Medieval allegorism, characteristic of the early Tudor Masques in England, is being transformed into a form that is characterized by subtle poetry, intelligent dialogue, aristocratic dance and music, incorporating the best traditions of French and Italian musical culture. B. Johnson's Masques are complete, integral musical theatrical performances.

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Особливості формування латиноамериканських національних композиторських шкіл у постколоніальний період

Author(s): Larysa Leonidivna Vasylieva / Language(s): Ukrainian Issue: 3/2020

The purpose of the article is to highlight the formation features of national composer schools in Latin America in the context of the XIX-ХХ centuries artistic trends. The methodology of the study is based on an integrated approach using system-structural, functional and comparative methods, which allows one to study the peculiarities formation features of national composer schools of Argentina, Brazil, Cuba, Mexico in the context of European neo-folklore and Latin-American musical nationalism of the 19th and 20th centuries. The scientific novelty is to cover the principles of musical nationalism embodiment in the fields of musical thinking, genre, style, means of musical expressiveness (mode, harmony, rhythm, timbres, and their combinations) common to the Latin American countries. Conclusions. Understanding Latin American composers of their own cultural heritage on the basis of European neo-folklorism entailed the formation of spiritual and artistic "nationalism" ideology embodied as "Negrymism" in Cuba and in Brazil, "Indianism" in Argentina, "Aztec Renaissance" in Mexico. If, at the level of musical expressiveness, the search for Latin American composers as a whole was in line with European neo-folklore, then in the field of musical thinking, style, and genre they were discovered that led to the formation of a specific Latin American image of artistic and musical thinking, namely: the free combination of different layers own folklore, national folklore and European genres, free manipulation of the means of various European musical eras.

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«Я ласк твоих страшусь» Персі Біші Шеллі в перекладі Костянтина Бальмонта у вокальних творах Антона Аренського та Бориса Лятошинського: компаративний аналіз музичного тексту

Author(s): Iryna Hlovatska / Language(s): Ukrainian Issue: 3/2020

The purpose of the article is to compare the peculiarities of the embodiment of poetry "I fear thy kisses, gentle maiden" by P. B. Shelley in the translation of K.Balmont in the vocal works of the same name by A. Arensky and B.Lyatoshynsky. The methodology of the research is to use the comparative method at the level of analysis of phonetic, lexical, syntactic, metrical, and rhythmic structural features of the poetic original and its translation, as well as ‒ melodic-harmonic, form-forming, intonational, genre-stylistic features of vocal works by A. Arensky and B. Lyatoshiski. The novelty of the work consists of the proposed aspect of the research, the determination of the rhythm structure of the original and translation, the musical and artistically ‒ expressive properties of the latter, the common and distinctive features of the chamber-vocal works of A.Arensky and B. Lyatoshynsky. Conclusions. Despite the presence of many common points in the approaches of A. Arensky and B. Lyatoshynsky to the implementation of the P.B. Shelley‘s verse, but in general, their works differ substantially in intonation and genre-style, showing classical-romantic and modern-expressionistic variants of his interpretation. The aforesaid proves the broad artistic and expressive possibilities of the analyzed poetry by P. B. Shelley and her convincing artistic use in a variety of stylistic contexts.

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Розвиток фортепіанного мистецтва у Китаї

Author(s): Marina Olegovna Antoshko / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to study the problem of the development of piano art in China. The methodology of the research is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to study the expediency of the problem of the development of piano art in China, studying the historical origins of this problem. For the first time, the historical names of the figures who directly influenced the development of piano art in China, which clarified the cultural traditions of the East. Conclusions. On the basis of the study of the problem concerning piano art in China, they discovered the processes of development of his and distinctive culture. Identify the names of the well-known teachers and musicians in China that have influenced the development and development of the country's art. Identify the influence of philosophy on thinking and understanding of piano art. The system of thinking of modern piano art is based on ancient Chinese philosophy. The musical culture of China is in constant search for the nature of sound, timbre palette, form, combining national motives. Through the combination of national features, country philosophy, religious tendencies, elements of vocal and instrumental folklore, theater and composition and piano culture, China's musical piano culture has become well-known in the world. The technique of piano playing is based on strict classical methods and national consciousness, which have been etched in the centuries. It was the Vietnamese school and the Yuege educational system that formed the basis for the development of Chinese musical culture. Thus, a great influence on the development of music education was made by: Shen Shingong - one of the first piano teachers, Jeng Jimin, who founded the music school in Shanghai, Lee Shutong - taught singing and piano at the Shanghai Women's School and Nanjing Higher School. An important role in the formation of piano art was played by Din Shande, who combined Western and Eastern motifs on the example of his works. These issues are interesting and require further study by scientists.

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Героїко-патріотична спрямованість сучасної хореографії в рамках фестивалю «Сурми звитяги»

Author(s): Оleksandr Plakhotnyuk / Language(s): Ukrainian Issue: 1/2020

The purpose of the article is to consider the artistic and cultural significance of the All-Ukrainian Children's and Youth Arts Festival “Surmy zwytiagy” which has been ongoing in Lviv continuously for twenty years. It is necessary to study the root principles of the foundation of choreographic works. Analysis of their significance for the development of Ukrainian dance art, the formation of Ukrainian choreography in the world community of dance artists. To draw the attention of the choreographers to the expanded opportunities for integrating the activities of Ukrainian choreographers when introducing the processes of European integration of the Ukrainian state. Awareness of the role of a dance of Ukraine in the cultural processes of the world. Methodology consists of the use of the following methods: objectivity, historicism, comparison, a culturological approach, artistic analysis of choreographic works. These methods allow you to discover and explore art projects, their interactions and their role in the choreographic art of both Ukraine and the rest of the world. The methods of objectivity and historicism make it possible to trace the process of creating choreographic works presented at the “Surmy zwytiagy” patriotic festival. The comparative method can be used in the study of the activities of leaders and directors of choreographic groups in Ukraine. Scientific novelty is to expand ideas about the role and activities of choreographic art in the process of patriotic education of children and youth by the example of historical events illustrating the heroic path of the national liberation struggle of the Ukrainian people. Also, scientific novelty is a demonstration of the main factors of modern choreographic art used in patriotic themes. And also: stimulation of representatives of the dance culture of Ukraine in the popularization of their creative activities in Ukraine and the rest of the world. Conclusions. So, the All-Ukrainian Children's and Youth Art Festival “Surmy zwytiagy” seems to be an artistic phenomenon of the modern cultural and artistic life of Ukraine. This festival carries out educational, educational, national-patriotic activities among children and youth on the example of the best examples of artworks of the patriotic direction. This festival shows the masculinity of the people of the national liberation struggle of the Ukrainian people in the XIX - XXI centuries, the foundation of independence of Ukraine. The main achievement of this festival is its international artistic level. The main idea of this festival is fully consistent with the desire of the Ukrainian people for independence and integration into the European community on equal terms as a full-fledged and independent state. Festival participants demonstrate samples of composition and staged embodiment of a choreographic patriotic theme in competitive programs. These samples require some rethinking and research by artists and scientists. Already today we can state the fact that to reflect this difficult topic by means of choreographic art, choreographers, dancers use the latest technologies and forms of modern dance art. Namely: this is jazz dance in its new and original form of folk-jazz dance, which has been developing in Ukrainian dance culture in recent years. This is a modern dance and its post-modern forms, most of all it is a contemporary dance with a unique ability to reflect the fine lines of feelings at the intersection of the style of choreography, philosophical trends, and the worldview of both its creator and its dancers. It is relevant to use youth dance-pop culture in covering historical, patriotic and heroic events in Ukraine, namely the use of street dance. This type of dance develops in dance styles: disco, hip-hop, jazz-funk, break-dance, and others. The fact of using youth dance styles reveals new features of modern choreographic art for educating young people and highlighting the complex theme of the “Surmy zwytiagy” festival. A significant achievement of the authors who present their works at this festival is bold creative experiments of the synthesis of art, sports, audio installations, and performative forms.

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АФЕКТ В ТЕОРІЇ ТА ВИКОНАВСЬКІЙ ПРАКТИЦІ «STYLUS PHANTASTICUS» (НА ПРИКЛАДІ «ХРОМАТИЧНОЇ ФАНТАЗІЇ» Й. С. БАХА)

Author(s): Natalia Fomenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to discover the means of expressive and stylistically correct performing of Baroque pieces in "Fantasy style." Methodology: historical-stylistic, interpretative analysis, semantic, and etymological analysis of the musical text. Scientific novelty covered with current research views on the problems and features of musical rhetoric and the category of affect in particular. Conclusions. As a systemic category of Baroque aesthetics and musical thinking, affect determines not only the compositional and stylistic features of musical text but also the ways and means of its performing embodiment. The disclosure of the affect inherent in the composer in the sound idea of the work should not be based solely on the intuition of the interpreter; For the correct and artistically authentic embodiment of the affect, specific knowledge is needed that will provide the relevant choice of articulation, fingering, agogics and more. And for the correct articulation of musical-rhetorical figures, besides their own identification, "reading" by the performer in the musical text, it is essential to form each intonational figure independently, and therefore to convey to the listener the relation of motives between themselves and the place of each in a universal symbolic-sound continuum.

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АНДЕГРАУНД В УКРАЇНСЬКІЙ МУЗИЦІ НЕАКАДЕМІЧНОЇ ТРАДИЦІЇ

Author(s): Olga Beda / Language(s): Ukrainian Issue: 2/2019

The purpose of the article. The study considers underground music of a non-academic tradition in the context of the development of Ukrainian musical art in the Soviet and post-Soviet times. The methodology of the research involves the use of the historical-cultural method, which allowed to highlight the milestones of the Ukrainian underground non-academic music. The scientific novelty of the research consists in the fact that for the first time in the Ukrainian science the underground in the music of the non-academic tradition in its historical dynamics was considered, two types of underground music were defined and characterized – nonconformist and niche. Conclusions. Underground as “underground” art in different types of society has different socio-cultural functions. The totalitarian underground is both elitist and mass art, which has a pronounced nonconformist character, and its content is aimed at overcoming the restriction of human rights and freedoms, as well as the creative will of the artist. In open societies, the underground becomes peculiar self-expression of the creative elite and is aimed at a narrow audience; today, it has a pronounced niche character. The creativity of the Ukrainian jazz groups "Jungleman," "4.A.Y.K.A.", "Luk" is a representative of the underground of the post-Soviet era, which is characterized by the elitist nature of music and the lack of promotion adopted in the show business.

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ОГЛЯД НАУКОВОЇ ЛІТЕРАТУРИ З ПРОБЛЕМ СТАНОВЛЕННЯ ПРОФЕСІЙНОЇ КРИМСЬКОТАТАРСЬКОЇ МУЗИКИ

Author(s): Usein Bekirov / Language(s): Ukrainian Issue: 2/2019

Purpose of Article is to analyze the state of scientific literature of the 20 – the beginning of the 21 century on the problems of professional Crimean Tatar music. Methodology. The analytical, historical, and comparative methods were used. Scientific novelty. For the first time in scientific research, the history of the composer school of the Crimean Tatar people is analyzed. It was emphasized creative figures who build professional Crimean Tatar music based on the folk (song and dance) tradition. Conclusions. The archaeologist and anthropologist G. Bonch-Osmolovsky stood in the origins of the study of the Crimean Tatar culture, including music, in the 20-century directions. One of the original features of Crimean Tatar academic music is its philosophical character, as most of the Crimean Tatar composers (E. Emir) are not only professional musicians and artists in the broad sense of the word, but also true philosophers, which, of course, influences their creativity, elevating it to the highest stage of emotion, spirituality, depth of imagined images and ideas. The reason for this, in our opinion, is the complex history of these people, which required them of the spirit and willpower, the ability to reflect on their lives and events in it, and move forward without losing hope. That is why we find uncommon wisdom, philosophy, and depth of ideas in the works of Crimean Tatar composers. The second feature is that music at the professional level during the last and present century was created not only by composers but by unique personalities that combine different types of activity (Ya. Sherfedinov - ethnographer, musician, poet, and folklorist; A. Refatov - musician, folklorist, teacher, and researcher; N. Amedov - composer, performer; E. Emir - musician, teacher; E. Nalbandov - composer, researcher).

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HORNBY’S CHARACTERS TRAPPED IN THE PARALLEL WORLD OF MUSIC

Author(s): Srđan Gajdoš,Olivera Korpaš / Language(s): English Issue: 69/2019

Nick Hornby is an author who has placed a significant emphasis on music in his writing. It has the role of being obsessive and stifling in the lives of the characters. They are immersed in listening to it and are often immature people. As a result, they find themselves at a standstill in their lives. The narrator of Fever Pitch, Rob, Dick and Barry from High Fidelity, Duncan from Juliet, Naked, and Will from About a Boy are typical examples of relatively young males who need to overcome their obse- ssion with music in order to reach maturity. They mostly manage to achieve this by encountering real problems which bring them back to reality and help them realise the absurd state they have allowed themselves to slip into. Therefore, the paper aims to examine these roles and establish whether any parallel can be drawn between the character and their author. The paper also attempts to see what kind of attitude Nick Hornby has towards music and the characters themselves.

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СТАРОВИННИЙ ТЕАТР ТА МУЗИЧНЕ МИСТЕЦТВО КИТАЮ

Author(s): Marina Olegovna Antoshko / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is to study the problem of ancient Chinese theater and the influence of musical art on the ancient traditions of the country. The methodology of the study is to use historical and biographical methods in the study of this topic. The scientific novelty of the article is to study the feasibility of the problem of the worldview of ancient China, based on the musical traditions and theatrical life of the country. The historical names of the philosophers who influenced the development of the system of music and education, which affected the cultural traditions of the countries of the East, were distinguished. Conclusions. Based on a study of ancient theater and music, the country has identified a distinctive Chinese culture. The problem of studying the worldview system of ancient China as the basis for the emergence of the musical tradition has interested many scholars because it influenced the cultural life of the countries of the East. Philosophical views influenced both theatrical life and the musical art of the country. Thus, China's cultural traditions were based on ancient Chinese philosophies: Confucianism, Taoism, and Buddhism. Special attention was paid to the issue of education, in particular aesthetics, in China. Music education has played an important role in China's culture. Confucius emphasizes the comprehensive development of man while emphasizing the morality of the individual. Therefore, China's theatrical art is distinguished by cultural unity and originality. Musical load played a big role. The Chinese worldview is based on a vision of nature as a living organism. The first sprouts of musical and theatrical art emerge. XII-XIII centuries marked the birth of Chinese opera. The Chinese theater was in full understanding of the people. The musical side of the classical theater is characterized by an unbroken unity of sound, words, and dance. Circle of images, moods, techniques of acting is characterized by a certain type of melody, rhythm, composition of the orchestra. The topics of the ancient theater and Chinese art are interesting and not fully understood, which necessitates further development in the study of this issue.

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АРХЕОГРАФІЧНИЙ АНАЛІЗ РУКОПИСНИХ ЗБІРНИКІВ ОКТОЇХІВ XVI СТ. З КОЛЕКЦІЇ ІНСТИТУТУ РУКОПИСУ НБУВ

Author(s): Mykola Pidhorbunskyi / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is to analyze the manuscript collections of Oktoikhov in the collection of the Institute of Manuscript of the Vernadsky National Library Of Ukraine; conducting an archaeographic description and identifying characteristic features in the songbooks of the Ukrainian Orthodox Church in the 16th century. The research methodology includes system analysis, which made it possible to analyze and explore handwritten singing collections. To determine the temporal and quantitative characteristics of the analyzed material, statistical and chronological methods were adopted. Scientific novelty – is to clarify the differences: in the design of the text in manuscript collections, in the use of ekfonetics and neume notations, and the gradual modernization of the Ukrainian half-order. Conclusions. The archaeographic description of the manuscript Oktoikhs revealed common features in the design of ancient collections. The texts of manuscript collections are written by the Ukrainian half-mouth. Each section begins with a heading written in the cinnabaric script, and the end of each section has a certain design in the form of a colophon or a small graphic image. And also certain differences were revealed: in the design of liturgical texts and the gradual modernization of the Ukrainian half-order. Ekfonetics and neume notations in the singing manuscript collections of Oktoikha of the 16th century has a certain variability. Church hierarchs did not consider this a violation of certain norms, but any variability in relation to the texts of worship was unacceptable since they were canonical. The unresolved issue is the decoding of ekfonetics and neume notations, which accompanies the texts of the songbooks. It is possible to solve this problem with the active cooperation of Ukrainian medieval scholars with scientists from Western European countries.

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ХОРОВА ТВОРЧІСТЬ ДЖОАККІНО РОССІНІ В КОНТЕКСТІ ДУХОВНО-РЕЛІГІЙНИХ ШУКАНЬ ІТАЛІЙСЬКОЇ КУЛЬТУРИ ЕПОХИ РІСОРДЖИМЕНТО (НА ПРИКЛАДІ STABAT MATER)

Author(s): Anzhelika Anatoliyivna Tatarnikova / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is to identify the poetic and intonational features of the choral works of G. Rossini, including Stabat Mater, in the context of the specifics of the existence of spiritual genres in the cultural and historical realities of Risorgimento. The methodology of the work is based on the intonation concept of music from the perspective of stylistic analysis, as well as on interdisciplinary and historical-cultural approaches that allow revealing the spiritual-semantic and poetical-intonational features of Stabat Mater G. Rossini in line with Italian culture of the first half of the 19th century. The scientific novelty of the work lies in the fact that for the first time in cultural studies and art studies, attention is focused not only on the genre-style evolution of the composer's work but also on the idea of the spiritual unity of the nation, which is essential for his time, based on the principles of restoring Christian traditions and sacred-ethical function musical art. Conclusions. Comprehension of the multilevel quality of the Stabat mater, within the framework of which the idea of suffering on the cross and its inner empathy comprehension becomes not only a guarantee of a person's spiritual transformation but also an anticipation of the image of Divine glory as one of the defining ones in the Christian worldview. The indicated semantic subtext of G. Rossini's work reveals its correlation not only with the deep traditions of Italian choral music but also with the spiritual attitudes of the Risorgimento and European romanticism in general.

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ІСТОРИЧНІ КОРЕНІ УКРАЇНСЬКОГО РОМАНСУ У ВИЗНАЧЕННІ ВИКОНАВСЬКИХ ПРИНЦИПІВ ЙОГО ІНТЕРПРЕТАЦІЇ

Author(s): Lai Yuege / Language(s): Ukrainian Issue: 37/2020

The purpose given work is a history argumentation of the "entering" of genre genetic Spanish romance in Ukrainian artistic world with his forming on wave of the biedermeier and solo chamber vocal in him, inheriting traditions to have music of aristocracies of the Ukraine and national song cultures as a whole on her actual social-political directivity. Methdological base of the work forms intonation approach of the school B. Asafiev in Ukraine, with special separation genre-сstyle cоmparison and hermeneutics forshortening of the last, as this bequeathing great G.Adler, which directed studies Asafiev, as well as it was perceived and built in system music history hermeneutics in works Liu Binjang, E.Markova and others. Scientific novelty of the work is determined that that for the first time in Ukrainian and Chinese musicology musical history hermeneutic is attracted for explanation of the romance phenomenon in Ukrainian music and straightening to concepts madrigal type of Ukrainian romance as independent culture of the expression in composer and in performance practical person. For the first time in specified forshortening appear the tumblings from Ukrainian lyrical chant to romance type and presence in it practical persons of the spiritual singing, honoure biedermeier and generation of T. Shevchenko, formed poem-romance preference in compositions and in performance art. The findings. Ukrainian romance as genre quality was defined in chronologies of his shaping from XVIII to XIX cl. on intersection spiritual lyric poets edging and European-actual " spanisms", which were historically brought forth with the end XVIII on the first half XIX centuries, saving early-operatic performance installation, going from madrigal border position of spiritual and worldly in art. Border situation of Russian and Ukrainian romances is determined chant headwaters that and the other, but with special accentuation of instructivity and philosophical contemplation in Ukrainian romance, firmly saved the song-mаdrigal basis its lyric poets. Essential for Ukraine poem - admiring – orientation of romance figurativeness, inspired poem shall adjust of the poetries T.Shevchenko, culled and in heritage of Ossian, and in irish-briton headwaters to monastic poetry, supplied in due course art of the itinerant players on a kind of lute – bandore-players in parallel and in continuation creative activity bards-felleds. Accordingly, Ukrainian romance contains mainly philosophical-inctructive hymn motives, which concentrate the facility of expressiveness in riverbed self-significant vocal type and has not that of autonomy to song-madrigal type, which characterizes other national romance layers creative activity. For Ukrainian romance lyric poets specifically significant line romance-elegies and corresponding to mental mindset lyrics lachrymal penitent faith that dictates the corresponding to performance skills of acceptability from church singing traditions and spiritual forshortening tragic amorous lyric poets madrigal.

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ХРИСТИЯНСЬКА МІСТЕРІЯ В ДЕТЕРМІНАЦІЇ ВИТОКІВ ОПЕРИ

Author(s): Iryna Krasylina / Language(s): Ukrainian Issue: 37/2020

The purpose of the article is tracking profound-structured connecting section medieval-rеnеssaence mystery and operatic classicists, which on ideological considerations in New and the most Latest time in the incidence of the past age did not notice then presentation was narrowed about semantic filling the operatic show and that became peg introduction decisions of operatic classicists on today. The methodology of the work is the culturology approach in science about art, presented including the school of B. Asafiev in Ukraine. The base place occupies the method of the genre-style benchmark analysis, hermeneutic, historian-descriptive methods, allowing within metaphysicians of the histories (A. Losev, N. Konrad) fix the semantic parallels of the formation of the humanitarian sphere and expressiveness of art. The scientific novelty of the study reveals itself in the independence of the building of the consequent steps of the historical relationships mystery and operas, but також in originality most march to this sort relationship from dramatic championship of the theatrics in music as style-genre opposition sacramental vocal and home sound expression with borrowing the ways of the comic manifestations and home dance plastics.

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Poezija i fizika

Author(s): Marko Grba / Language(s): Croatian Issue: 25/2020

Newton, opisujući duboko proživljeni doživljaj istraživanja u fizici, opisuje, vjerujem, i doživljaj koji dijeli i sa svakim pravim umjetnikom. Goethe odabire za naslov svoje autobiografije Dichtung und Wahrheit, dakle Poezija i istina, što i nije bez razloga u nas prevedeno kao Poezija i zbilja. Valja, naime, pjesniku - ako hoće pisati za milijune (kako je to zahtijevao Goethe) - dobro i duboko i proživjeti i promisliti svekoliku zbilju, sve raznolike (a počesto i kontradiktorne) aspekte realnog: dobro promisliti i svakodnevno i sublimno, obično i čudnovato, duhovno i materijalno, egzaktni opis zbiljskog kako ga nameće znanost kao i aluzije umjetničkog dojma; i valja mu sve proživljavati, pjesniku valja njegovu poeziju svakodnevno živjeti.

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MUZICA TRADIȚIONALĂ ELEMENT ESENȚIAL ÎN EVOLUȚIA ROMILOR LĂUTARI DIN PRINCIPATELE DUNĂRENE

Author(s): Cristinel Constantin Roman / Language(s): Romanian Issue: 2/2020

The Roma crafts played the role of connector in the relationship with the populations encountered during the journey to a better life (in one form or another this journey does not seem to have ended ). For Romania, the Roma musicians represented the musical professionalism that was the basis of sedentarism, managing their integration and cohesion with the native population. This process allowed the group to preserve its ancestral traditions but also caused a change in social and mentality. During the work, the role of the Roma ethnic group in the preservation, production and dissemination of different musical genres and categories in different historical periods is highlighted. The ethnic approach of the interpreters of the Romanian folklore represents a first step in emphasizing the economic role, of the fiddlers and of pride for the owners of fiddlers.The diversity of Romanian music highlighted by the involvement of fiddler Roma is a feature of intercultural dialogue. Aspects related to the relationship and historical evolution of the Roma are a priority in order to promote and preserve the cultural heritage.

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