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The purpose of the article is to highlight the peculiarities of the audio and visual manifestations of the K-pop direction, to highlight those aspects that make it possible to trace the interaction of traditions and innovations within a given cultural and artistic phenomenon. This goal can be achieved by analyzing the factors that are presented in this direction - including the musical component, the visual, image, social, ideological, political, economic, etc. The methodology is related to the use of a comparative method to cover the characteristics of the development of K-pop, as opposed to the western directions of pop music. The method of analysis is used to identify key attributes of K-pop. The scientific novelty is to shed light on the particularities of the K-pop direction and to highlight its role in the context of the culture of the present. It is emphasized that K-pop should not be regarded as a purely musical phenomenon, as it embodies various cultural, social, economic, and even political factors and performs many functions other than purely artistic ones. Conclusions. K-pop is a field of development of popular culture in South Korea of considerable scientific interest. Unlike many of the phenomena present in music today, K-pop is a whole culture. This direction plays an integrative, ideological, communicative function, acting as a factor of integration of many Asian countries. K-pop is directly involved in the development of technology and has developed a strong interest in "idols", which are an integral part of this culture. An important role in promoting bands and performers pertaining to K-pop is the attention to visual and image principles that foster interest from the viewership. A more promising direction is a more thorough analysis of the dynamics of the formation of this direction and the identification of possible further ways of its development.
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The purpose of the article. Research of contemporary art markets and analysis of the problem of the creation and implementation of art products with the use of marketing technologies in the field of art. The methodology of the research is to apply empirical, comparative, and theoretical methods. This methodological approach makes it possible to reveal and analyze certain marketing technologies in the modern market of fine arts, taking into account the specificity and content of the art product. The scientific novelty consists in expanding ideas about the structure of art marketing. The article deeply analyzes an important problem related to the introduction of marketing technologies in the field of art. This sphere has its own originality. Art markets have a unique structure and art products have unique content. The article deals with the specificity of art markets, their main differences from the markets of classical goods and services. The article reveals the reasons for the emergence of art markets, as well as their advantages and disadvantages. Attention is also paid to the detailed disclosure of the features of art products, which in the marketing process act as the starting point in the chain of promotion of artistic goods in the market. A similar art product has symbolic and commercial components. The article also briefly discusses the problem of evaluating art products. Conclusions. Art markets have all the main features of the classic markets. however, art markets differ in their peculiarities, which are connected with the uniqueness of art products. The market of art is characterized by a unique specificity of supply and demand, pricing. Economic laws and stereotypes in the art market require adaptation. Artistic products in art markets are objects whose value is manifested in their essence. They can be the starting point in the chain of product promotion on the market and carry out a "search" of the consumer. The artistic product has a symbolic component and a commercial component and can bring significant returns to its owner. Marketing technologies are also used for the correct and competent evaluation of the art product.
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The purpose of the article deals with the analysis of art jewelry formation in Europe, in particular the UK, the Netherlands, and Germany in the 1960-1980s. The representatives of these countries had their own traits and character, due to the specificity of the cultural environment. The methodology is based on a combination of historical and systemic approaches that have become an integral set of all the selected methods, as well as the methods of comparative, system-comparative, and art criticism analyses. The scientific novelty of the study is in the highlighting of the peculiarity of jewelry evolution in Europe in the 1960-1980s, which is associated with the emergence of new conceptual foundations of creation: the use of different materials - from expensive to alternative, new aesthetic and conceptual forms, which is considered as an independent artistic phenomenon for the first time. Conclusions. The deviation of adornments from classic jewelry and the establishment of their independent aesthetic role in the system of applied art is accompanied by an active creative experiment in the countries of Europe from the 1960s to the early 1980s. From then on, main conceptual foundations are being formed: the change of art jewelry interpretation paradigm as the work of art on the verge of decorative and visual arts; experiments with art jewelry in the practical and theoretical context; the use of non-traditional materials.
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The purpose of the article is to clarify the state of the study of the process of development of enamel art in foreign historiography. Methodology. In accordance with the stated goal, a set of research methods of contemporary art criticism was selected, based on the methods of heuristic and hermeneutic cognition in combination with the use of historical-chronological, problematic methods. The use of these methods of research contributed to obtaining their own results. The scientific novelty of the obtained results is to formulate and develop a topical, little-researched theme of the genesis and evolution of enamel art. The results of the study can be an important component in the study of contemporary art and the development of art science. Conclusions. It is concluded that foreign art studies are actively studying the problems of the development of enamel art. It is established that enamel art in its monumental dimension was started at the beginning of the second half of the twentieth century, and in Ukraine, this process falls at the end of the twentieth century. There is a steady use in art studies of technical and technological methods of studying works of art in general and enamel art in particular. Artistic enamel is regarded as a syncretic form of art that uses the methods of creative expression of painting, graphics, sculpture, and other types through the lens of enamel technical capabilities.
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The purpose of the article is to summarize information about the ballet music of modern Ukrainian composers and its use in ballets of various theaters (National Opera of Ukraine, Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth, Kyiv Modern Ballet). The methodology of the work is based on the use of general scientific research methods. Systematic analysis is applied to typology the musical basis of Ukrainian ballets; generalizations – to summarize and conceptualize ballet music in contemporary performances. The scientific novelty of the work lies in the differentiation of information about the musical basis of modern Ukrainian ballets. Conclusions. The rethought ballet classics are presented by the interpretation of the musical basis of the famous work and the content of the literary source ("The Nutcracker"). The use of instrumental music by one author, which became the basis of the ballet score ("Crossroads"). Musical pastiche presupposes the extraction of additional possibilities in instrumental music not specially created for choreography ("The Snow Queen").
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The purpose of the research is to reveal the artistic features of the production of S. Prokofiev's ballet The Jester (1928) on the Kiev stage through the prism of the then critical discourse. Methodology. The analysis (for understanding the reviews of the ballet The Jester), comparison (for comparing the positions of the reviewers), the historical approach (for conducting the research in chronological order) are applied. The scientific novelty. The scientific novelty lies in the reproduction of the artistic critical discourse of S. Prokofiev's ballet The Jester (1928) in Ukraine; the introduction of new materials into scientific circulation, which significantly expand the understanding not only of the named ballet, but also of approaches to the artistic evaluation of ballet performances in the late 1920s. in the Ukrainian SSR. Conclusions. The production of S. Prokofiev's ballet The Jester (1928, choreographer M. Diskovsky) on the stage of the Kiev State Academic Opera caused a wide resonance in the artistic periodicals of Ukraine (the magazines Soviet Art, New Art, etc.). Most of the attention is paid to the musical score; a wide range of assessments is presented from extremely negative to unquestioning recognition of the novelty of music. The very exact correspondence of pantomime plastics to the nuances of music was positively assessed. The ballet is accused of formalism, the absence of proper choreographic means of expressiveness, the dominance of pantomime, and lack of focus on the mass audience. At the same time, his progressiveness is noted due to the rejection of academic ballet vocabulary, the search for new means of expression.
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The purpose of the study is to identify and systematize professional preconditions for reforming the academic ballet and the emergence of new stylistic trends in theatre dance at the beginning of the XXth century. The research methodology is based on the use of historical and comparative cultural, artistic methods to identify the causes of crisis phenomena in academic ballet at turn of the XIX XX centuries. The scientific novelty consists in revealing the complex and content of the causes of the crisis of classical ballet at the turn of the XIX XXth centuries, and the factors that were contributed to its reform. Conclusions. One of the most important professional prerequisites for the emergence of new styles of theatrical dance was the crisis of European academic ballet in the early XX century. The factors that created the preconditions of reforming professional classical ballet and promote the using of new areas of theatrical dance began: the theoretical idea of «effective» theatrical dance of Zh. Novera and practical research in the field of «absolute motion» of F. Delsarte; separate experiments and purposeful research in the field of a new composition of theatrical dance of choreographers of the early XX century; «reorientation» of musical thinking at the end of the XIX the beginning of the XXth cent.; the influence of the ideas of the artists of the union «World of Art» on the formation of a new understanding of composition and theatrical dance by the choreographers.
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The purpose of the research is to identify the features of the influence of the art-pedagogical school of the Department of Choreography of the Kiev State Institute of Culture named after A. E. Korneichuk (KDIK) for teachers of choreographic disciplines of the Terebovlya cultural and educational college. Methodology. Methods of analysis and synthesis were applied in the process of processing literature and information about the educational activities of teachers of choreographic disciplines of the Terebovlya cultural and educational college in institutions of secondary specialized education and KDIK. A chronological method was used to reliably reproduce events in a historical retrospective. Scientific novelty. For the first time, the influence of the art-pedagogical school of the department of choreography of the KDIK on the teachers-choreographers of the Terebovlya cultural and educational college was investigated; new materials were introduced into the scientific circulation, clarifying and supplementing the available information about the activities of teachers of choreographic disciplines of the named school. Conclusions. Famous teachers of choreographic disciplines H. Gordii, A. and O. Polishchuk, I. Nykolyshyn, V. Panius, P. Koval, I. Krakivska, graduates of KDIK, were guided and are guided in their artistic and pedagogical creativity at the Terebovlya cultural and educational college by the principles school of the department of choreography of the named institute. Studying with the leading figures of Ukrainian choreography (in classical dance – H. Berezova, L. Tsvietkova, T. Lazarchuk, T. Churpita; in folk-stage dance – V. Volodko, Ye. Zaitsev, V. Kamin, A. Rekhviashvili; in Ukrainian dance – F. Baklan, M. Motkov, O. Kolosok, S. Zubatov, V. Virska; ballet master's art – K. Vasylenko, M. Trehubov, O. Kolosok, L. Yermolina, H. Voronov, V. Vitkovskyi, V. Shevchenko; in the history of choreography – V. Pasiutynska, H. Borymska, Yu. Stanishevsky, etc.), they received highly professional theoretical and practical competencies, which made it possible, translating and modifying the principles of the KDIK teachers, to form their own art-pedagogical school.
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The purpose of the article is to consider the system of the newest musical and artistic means in the cycle of V. Bibik "Choral images". The methodology of the work is the principles of a comprehensive interdisciplinary approach in accordance with modern art studies, which involves such methods as system-structural, genre-style, semantic, choral, comparative, contrastive, performing. The scientific novelty is in the fact that for the first time in the analyzed cycle of V. Bibik's "Choral Images" a system of the latest musical and artistic means was revealed. Conclusions. Analysis of the cycle "Choral paintings" by V. Bibik gives grounds to claim that the system of the newest musical and artistic means is characterized by the following positions: timbre characteristics - sound color, spatial sound, the ratio of the use of mobility and statics, combining the sound of choral layers, the instability of the sound image; degree of innovation - techniques of singing articulation (stroke technique, different ways of pronouncing the text, musical syntax); choral texture (monody, homophony, polyphony, sonorica, pointillism); instrumentalization of choral parts (virtuoso passages, wide jumps of melody, clusters, metrorhythmic difficulties); theatrical techniques.
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The purpose of the article is to systematize the scientific methods of learning the art of singing on four levels of vocal methodology. The methodology of the study is revealed at the philosophical, general scientific, specific scientific and technological levels, with its foundation comprising: a systemic approach to systematize and summarize the methods of learning the art of singing; analytical - to study the scientific experience of humanitarian knowledge in solving the stated problem; cultural studies - to study the essence of the art of singing as a phenomenon of musical culture; axiological - to identify the value of vocal methodology and the definition of values in the art of singing. The scientific novelty of the study lies in the systematization of scientific methods of learning the art of singing at four levels of vocal methodology. Conclusions. The vocal methodology, which we consider as a system of scientific metamethods of knowledge essence and specifics of the art of singing at four levels: philosophical, general scientific, specific scientific, and technological, is at the beginning of the path of reflection and research. The identification of methods of learning the art of singing at the four levels of vocal methodology enabled us to systematize general, general scientific, and special methods aimed at solving the current problems of vocal science.
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The purpose of the article. To analyze the creative and social activities of leading representatives of Zaporizhzhia choral culture in the second half of the twentieth century. The methodology of the research is to apply the method of source-analysis - when studying archival documents and materials; journalistic publications that contain information on the development of the choral culture of Zaporizhzhia in the second half of the twentieth century; analytical and biographical methods - to study the creative activity of musicians. Scientific novelty. The study enriches the musical history of the Zaporizhzhia region with new factual material, allows you to identify the features of the development of its choral culture in the second half of the twentieth century. Conclusions. The study identified the creative personalities of Kostiantyn Yerzhakivskyi, Viacheslav Aparin, Mykola Kysil, Petro Protsko, who clearly represent the choral culture of Zaporizhzhia in the second half of the 20th century, and lead the famous choral groups in the region. The activities of musicians influenced all spheres of regional musical culture - composer creativity, music education, amateur, and professional performance; characterized by the enrichment of not only regional but also nationwide musical culture. The success in working with choral groups, the popularity of the composer's heritage of artists is evidence of their outstanding talent and the basis for further analysis of creative activity.
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The purpose of the article is to prove that knowledge of aesthetically beautiful and performance conformities to the law of style of baroque is no less important than the intuitional feeling of maintenance of music. To define that only integrating own emotional, rational, motive capabilities, bayan-players will be able to attain brightly original interpretations of the music of epoch of baroque. Also, a task to probe appeared in our article, what methods, forms, and performance expressive facilities, bayan-players need to be used for a valuable transmission vividly value to the maintenance of work in the style of baroque. The methodology consists of the application of such methods, comparative, chronologic, historical-cultural, objective-historic, creative-activity, typological, and system. The scientific novelty consists of that, to probe, what methods, forms, and performance expressive facilities, bayan-players need to be used for a valuable transmission vividly value to the maintenance of work in the style of baroque. It is proved that the specifics of sound formation and peculiarities of musical dramaturgy on the keyboard instruments of the baroque - harpsichord and organ, in the music of the XVII – the first half of the XII centuries, were dominated by the principles of dynamic terraces and equality. The detailed analysis of scores of Y.S Baсh, A. Vivaldi, G.F. Hеndel, A. Korelli, G.F. Teleman. Conclusions. Knowledge of aesthetically beautiful and performance conformities to the law of style of baroque is no less important than the intuitional feeling of maintenance of music. Only integrating own emotional, rational, motive capabilities, bayan-players will be able to attain brightly original interpretations of the music of the epoch of baroque. Also, it is discovered as a result of the analysis, that for a valuable transmission vividly value to maintenance of work, his dramaturgy, and form, it is necessary to use performance expressive facilities (the tempo of subway rhythm, dynamics, articulation) bayan-players in a complex.
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The purpose of the article is to determine the genre-style and performance features of the saxophone J.- M. Londaks and their importance in the educational process of young musicians. The methodology of the research is based on the use of methods: textual and source studies – when developing music sources on a selected topic; style and intonation analysis – to determine the genre-style and performance features of the analyzed sketches. The scientific novelty of the work is the updating of the notographic material, analyzed for the first time, and outlining the expediency of its use in the educational establishments of the art profile of Ukraine. Conclusions. Etudes for saxophone by J.- M. Londaks are aimed at mastering young musicians of all sorts of technical, articulatory techniques inherent in, in particular, violin music. The miniatures are diverse, featuring a rich dynamic palette, cover different registers of the saxophone, revealing its timbre potential, designed for students to master all the tonalities. The analyzed sketches enriched the instructive repertoire of saxophonists, started in my time by M. Mull, and used in the educational process of Ukrainian performers.
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The purpose the article: creative activity of Johann Petzel, the then-known multi-instrumentalist, whose creative path and kind of activity reflects the life and status of the musician of the Baroque era, is analyzed in the article in the context of the development of the German ensemble performance on copper wind instruments of the 17th century. It is noted that the motivation for the appearance of works for the ensemble of copper wind was a purely practical need to replenish the repertoire of urban performers. The works are written taking into account the technical capabilities of the instruments and follow the specifics of the genre-style tendencies of German instrumental music of the 17th century. The methodology of the research consists in an integrated approach to the study of the stated problem. The main method is the historical method, which gave an opportunity to highlight the creative path of the German musician of the 17th century and the method of musical and theoretical analysis that was needed for the multi-dimensional study of musical works, primarily to determine the peculiarities of the interpretation of the parties of instruments in relation to the features of the themes, texture, and shaping. The scientific novelty is determined by the practical needs and consists in the coverage of the work of one of the outstanding German musicians of the 17th century, the author of a large number of interesting, but almost unknown works for the ensemble of copper wind instruments, as well as in the restoration and bring to the attention of the executive community information about the presence of the little-known repertoire for the ensemble of copper windings, which should be added to the educational and concert programs. Conclusions state that the subject matter and methods of analysis should be distributed to the composer's work of J. Petzel‘s contemporaries, who also created music for the ensemble of copper brass, and to include their works in the repertoire of current performers.
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The purpose of the article is to identify patterns associated with the transformational processes associated with the change of the verse form in pop music, especially in rock and pop directions. This goal is realized in the coverage of the likely influences of socio-cultural factors, and not just purely artistic. The methodology involves the use of an analytical method to illuminate the features of the structure of the couplets, which are present in modern pop music. The use of the comparative method was used to compare the terminology used to refer to the structural sections of the song forms in the domestic and English-American literary studies of art. The scientific novelty is that for the first time the evolution of the purchased form in rock and pop music was studied on the basis of identifying changes in the standards of duration and form of the song, which claims the status of a "hit". Conclusions. Assumptions are made about the possibility of the influence of technological processes, and not only on the individual creative principles of the composer on the duration and form of the chamber vocal work. A promising trend is the introduction of the terminology used in the Anglo-American literature to describe the sections of the song form, namely, the chorus, the bridge, into the domestic art studies discourse.
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The purpose of the article is to study measures of ensuring musical training of applicants for primary art education. The methodology of the research consists of using musicological, system-structural, logic-analytical methods which allow us to highlight a system of measures for the musical training of the primary art education seeker and to give them a characteristic. The scientific novelty is to highlight, on the basis of a systematic approach, a number of measures of ensuring musical training of applicants for primary art education, which is a prerequisite for the further growth of spirituality and professional and technological mastery of the musical performer. Conclusions. The musical education of applicants for primary art education is possible under the condition of the complex implementation of a set of measures: control of listening activity; development of students' musical ability (hearing, memory, rhythm, a feeling of form, phrasing); expressive singing of the melody of the studied works; a combination of a showing behind a piano with verbal directions; study of works of modern Ukrainian composers.
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The purpose of the article. The article is devoted to the peculiarities of the creative interpretation of musical works in vocal performance, namely, consideration of a number of professional and personal characteristics of singers, as well as three interrelated stages of the process of creative interpretation. The methodology of the research of the study is made up of dialectical and systemic methodologies used in the field of cultural studies. General scientific and logical methods of analysis, synthesis, induction, and deduction, historical and comparative research of the problem are used. The author has applied a hermeneutic approach to studying the essence of creative interpretation as a process of establishing objective meaning, identifying the personal content of objects to be interpreted. The scientific novelty of the work lies in deepening the understanding of the versatility of the phenomenon under study, revealing the significance of the creative component in a number of personal qualities of a modern vocalist-performer. Conclusions. The creative principle in the musical performance interpretation is revealed through the individual filling with the subjectively new personality-colored content of the objectively existing author's musical text. At the same time, the musician-vocalist acquires the subjective value of interpretive activity in the process of self-disclosure, self-enrichment, and personal growth. The transformative influence of interpretation on the performer is due to the fact that through creative communication with a piece of music, a composer, his era, and the entire artistic culture, the performer vocalist enriches the limits of his personality. Thus, the creative interpretation in this work is defined as a complex manifestation of the individual and personal characteristics of the performer in the process of artistic reading and realization of a musical work.
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Purpose of Research. The purpose of the article is to analyse the theoretical principles of directing in the works of famous Ukrainian directors L. Kurbas, Y. Ilyenko and V. Kisin. The methodology of the research is based on interdisciplinary approaches, which allow to use the achievements of the history of culture, theory of cinema, theatrical, cultural studies, etc. The following methods are used: a comparative method allows us to compare the principles of directing in the fundamental works of L. Kurbas, V. Kisin and Y. Ilyenko; a historian one helps to highlight the universality of the principles of the creative process; the method of analysis gives the opportunity to highlight the basic ethical and aesthetic ideas of directing, which are described in the works of L. Kurbas, V. Kisin and Y. Ilyenko. Scientific novelty. The scientific novelty of the research is the analysis of the theoretical principles of directing in the works of famous Ukrainian directors L. Kurbas, Y. Ilyenko and V. Kisin and their praxeological dimension. Conclusions: The nature of the mass spectacle includes three spaces: stage, audience and temporal. This triune space requires the synthesis of many, even at first glance, incompatible means of expression, which determines such a principle as syntheticity, embodied in a combination of styles, genres and forms. In addition, it requires from the director-myth-maker, to professional skills, erudition, awareness, competence, mastery of professional terminology. All these postulates are contained in the creativity and practical activities of prominent figures of Ukrainian culture L. Kurbas, S. Ilyenko, V. Kisin.
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The purpose of the article is to reveal the specifics of the actor‘s bodily expressiveness in the context of the features of theoretical developments and the practical implementation in stage practice of leading theater directors of the twentieth and early twenty-first centuries. Methodology. The study is based on modern art criticism and philosophical concepts of the study of the phenomenon of physicality. Given the interdisciplinary nature of this issue, in the process of researching and analyzing the body expressiveness of the actor, the cultural-historical method is used (to define the concept of ―corporeality‖ in the context of cultural, artistic and philosophical concepts); comparative analysis method (for comparing the methods and methods of representing corporeality in theoretical works and the practical activities of leading theater directors); typological method (to identify factors of formation of actor‘s bodily expressiveness); the method of scientific observation and analysis (to determine the specifics of the bodily nature of the means of plastic expression of an actor) and other. Scientific novelty. An art history study of physicality was carried out in the context of the specifics of theatrical art; the process of transition of understanding the actor‘s physicality from abstract to dynamic in the context of transformational processes of theatrical art is considered; identified and analyzed general and distinctive value attitudes, as well as forms of representation of acting corporeality in theoretical developments and stage practice of leading directors of the twentieth – early twenty-first century. Conclusions. Analysis of the formation process at the turn of the nineteenth – twentieth centuries. and the further development of the director's theater testifies to the unique transformations of the socio-cultural space at the level of bodily-mental changes reflected in the structural, kinetic, and plastic aspects of acting. In the process of complex synthesis, corporeality gradually turns from a means of actor‘s expressiveness, with the help of which a story is told in a theater space, into a source of mimetic meanings and meanings in the process of reproducing the art of reality.
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