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TÜRKİYE’DE MÜZİK TERAPİ KONUSUNDA OLUŞTURULMUŞ BİLİMSEL YAYINLARIN İNCELENMESİ

Author(s): Ümit Kubilay Can,Begüm Yilmaz / Language(s): Turkish Issue: 27/2019

Primitive societies, who believe that music has an impact on living beings, have used music as a means of healing music in their own lives in order to remove the diseases they regard as bad. This power of music was later attracted by philosophers and scientists. Today, music therapy is attracted by many institutions and researchers especially in international academic settings. Although it seems as if the history of Turkish culture based on Ottoman-era practice of music therapy can be said that Turkey has shown interest in a new area of several major institutions and researchers in academic settings. What is the subject of the current status of Turkey in the field of music therapy has been identified as a problem of this research. Research in this direction is also in Turkey to investigate the scientific publication that was created in music therapy. In this study, scanning model was used to determine the current situation. The data of the research was obtained by scanning the databases. scientific publications related to music therapy is scanned in Turkey. In the data collection, publications including theses, articles, published papers, books and scientific meetings were discussed. As a result of the study, 121 publications were determined numerically. When the distribution of these studies according to the type of publication is examined, it is determined that they are (37), theses (34), articles (32), books (12), and scientific meetings (6). The first study, published in Turkey in recent years, which started in 1998, it was observed that increasing these studies. When we look at the contents of the studies in music therapy field, it can be said that the historical process of music therapy in different cultures is revealed, the methods and principles of music therapy field and the effects of music therapy are measured as the subject area of applied studies.

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KONSER SALONLARINDAN RADYO STÜDYOSUNA (1927): CUMHURİYET DÖNEMİNİN İLK TÜRK MÛSİKİSİ RADYO SANATÇILARI VE İLK RADYO KONSERLERİ

Author(s): Ünsal Deniz / Language(s): Turkish Issue: 27/2019

In the early years of the Republican era (the 1920s), concerts and music programs were often organized in concert halls, night-clubs, schools, restaurants, coffeehouses, squares and parks, as well as in mansions and houses. The audience of these music activities, that were mainly held in Istanbul, was limited only to the current audience. However, the debut of regular broadcasts at Istanbul Radio on May 6, 1927 facilitated the access of this limited audience to all kinds of music programs such as Alaturka, Alafranga, folk music and jazz throughout the country. While the radio broadcasts provided many listeners with the opportunity to listen to the vocal and instrumental performances of famous music performers, who had been never or hardly heard about, on the radio on the one hand, they also provided the opportunity for them to familiarize with the forms of Western music they had not been able to listen to before. In addition, radio broadcasts were the most ideal means for the cultural policies of the Republican era to reach their goal of accustoming the ears of the people to Western music. This study focuses on the artists who took part in the Turkish music programs, the content of Turkish music programs in Radio concerts and the composers whose works were performed in the early period of Istanbul Radio, which was established in 1927. Within the scope of this study, the broadcast programs of the early period (1927) of Istanbul Radio were identified, analyzed and described through such documents as books, magazines, newspapers, photographs and comics obtained through an archive research. In this respect, our research has a descriptive feature, as well. In addition, certain texts written in Ottoman Turkish were transcribed into the Latin alphabet, which is considered a contribution to the literature on the history of Turkish music. Some of the findings of this study are: that in the early period of Istanbul Radio, which is 1927, approximately 80% of its programs consisted of music broadcasts, and Turkish music accounted for the highest rate in these broadcasts with 37.61%; that although Turkish Music programs were mostly performed by Studio Music Groups, duets, triplets or more performers or artists also came together to form different Turkish music performance teams; that Turkish music programs were often made in the form of “fasıl" (Classical Turkish Music performance); that the classical style of the period reflected the market-style performance rather than the classical style; and that Western instruments such as cello, piano and harmonium were also used in Turkish music performances.

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GÖRSEL SANATLAR ÖĞRETMENLERİNİN SANAT KAVRAMINA İLİŞKİN METAFORİK ALGILARI

Author(s): Fatih Karip / Language(s): Turkish Issue: 2/2019

The concept of art, which is one of the most important elements of the cultural components of the society from the past to the present, has always been mentioned in many idioms and proverbs. The purpose of this study is to examine the ideas of visual arts teachers about the concept of art by means of metaphors. The study group consists of 100 visual arts teachers working in the province of Agri in the academic year 2018-2019. Phenomenological design is used in this study. The data of the study was collected by asking each of the participants to complete the sentence "To me, art is like ........., because ..........." Content analysis method was used to analyze the data obtained from the participants' answers. According to the findings of the study, visual arts teachers' metaphoric perceptions of the concept of art were grouped under 8 categories. These are: 1. Art as an expression of life. 2. Art as a life source. 3. Art as a guiding, illuminating concept. 4. Art as a special field. 5. Art as an expression. 6. Art as communication tool. 7. Art as a search for beauty, 8. Art as an unlimited exploration area. As a result, it was found out that the visual arts teachers expressed the concept of art with many different metaphors. According to this, it was revealed that art teachers mostly considered art as an expression of life and a source of life.

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Візуальні образи творів сучасного образотворчого мистецтва як зв’язок між концепцією і сприйняттям глядача (на прикладі проекту Love contemporary)

Author(s): Veronika Viktorivna Aftanaziv / Language(s): Ukrainian Issue: 39/2017

Purpose of Article. The purpose of this research aims to study and analyze the work of Zenko Foundation (Ukraine) and its subdivision Zenko Gallery. The article provides a comprehensive analysis of the concept proposed for this exhibition. The research was conducted in the example of the project Love contemporary, which was organized by Zenko Gallery. This work shows the relationship between the artist, the curator and the viewer. Methodology. The methodological basis of the article is a comprehensive analysis of social, cultural and art structural models. The author uses contemporary methodological provisions in forming public opinion in the context of dual model based on the artist and the viewer. The semiotics approach defines the research of contemporary art as a new form in domestic representativeness. The dialectical method helps to understand the degree of rationality in the proposed concept, where the dominance of the realistic approach is changing to symbolic perception. The method of schematization and modeling with analytical knowledge is also used. Scientific Novelty. The research novelty is in expanding the ideas about the role of private funds in art and their influence on social and cultural environment in the state. Relationship of the topic with scientific programs. This work is a continuation of other research about Zenko Foundation experience. The article is dedicated to the issues of communication processes between exhibition visitors and artists, more precisely their works of art. It has been proven that during the current stage of cultural processes happening in Ukraine the intermediary function of curator between the artist and the audience is vital. Curator serves as a rebroadcaster of the exhibition’s main idea through word, a concept for it. This, in its turn, helps the visitor to perceive contemporary art. Conclusions. As a result, we conclude that the role of each of these objects has its value in building a general concept and becomes an integral part of the main action, that is, in fact, the project. With the emergence of more diverse cultural events in a wide range of viewers, the interest in contemporary Ukrainian art and national culture increases.

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Образи фортепіано в "Piano Gesang" Ігоря Щербакова

Author(s): Fan Lu / Language(s): Ukrainian Issue: 39/2017

Purpose of Article.The article reveals images of the piano in the oeuvre by Igor Shcherbakov, especially in his piece "Piano Gesang," traces their continuity and transformations relative to images of the piano formed in the Ukrainian and world musical culture of previous epochs. Methodology. The research methodology lies in using a holistic analysis of a musical work. Logical methods of analysis and synthesis are used to identify images of the piano when considering the name of the piece, its ideas, and contents. The use of culturological and comparative methods allows us to trace the evolution of the melodious and nostalgic images of the piano and their reflection in the work of I. Shcherbakov. Scientific Novelty. In the article, a significant work of contemporary Ukrainian music "Piano Gesang" by I. Shcherbakov is analyzed for the first time. Innovative is also the consideration of this composition in order to identify typical images of the piano formed in modem Ukrainian professional music culture. Conclusions. The image of piano of Shcherbakov consists of two main interconnected components: the image of the piano as a singing instrument and the nostalgic image of the piano as a symbol of the "golden age" of musical art. In the formation of these images of the piano, an important role is played by both artistic and stylistic, as well as cultural and social factors. The nostalgic image of the piano is a manifestation of postmodern artistic consciousness, which is characteristic of modern Ukrainian and world art.

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Завдання та особливості сучасного естрадного мистецтва

Author(s): Valerii Borisovich Matushenko / Language(s): Ukrainian Issue: 40/2018

The purpose of the work. The importance of the tasks and features of pop art is considered in the article. The historical-theoretical study of the internal structure of the world of arts, the relationship between types and varieties of art, as well as genres and genres is described in many works. To date, there has developed a certain tradition in the study of pop art, which is also preserved in the study of colloquial, musical-song, plastic-choreographic and original genres of pop. The basis of the study was the material accumulated by the author in the field of stage, cultural studies, sociology, musicology, as well as publications of a factual nature, which highlight the essence of the issue. Methodology. The methodology of this work is the methods of scientific research that the author proposed in this scientific article. These are historical, analytical and comparative methods. Scientific novelty. However, the lack of elaboration in science of the topic of tasks and features of the stage makes some discussion points, the solution of which is important for modern cultural life. Conclusions. Today, cultural workers, in particular, pop music figures, have a great responsibility towards their people who want to think freely, objectively assess the situation, be aware of all aspects of life, in order to build a real, European, free, democratic Ukraine together, throughout the country. One of the aspects of this development is acquaintance with pop art, its features, tasks and ways of development. Future experts in the field of culture and arts of Ukraine - graduates of our academy and other higher educational institutions of Ukraine must know the history, development, main features, tasks and ways of development of pop art, as many of them will work in the national culture management bodies at different levels of our the state, namely: in the Ministry of Culture of Ukraine, state administrations, cultural departments, public, public, private artistic institutions, mass media, etc. - and precisely ID of socially active part of our society and will depend on future cultural policy throughout Ukraine. One of the aspects of this development is acquaintance with pop art, its features, tasks and ways of development.

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Український танець «гопак» – обробка фольклорного першоджерела чи стилізація?

Author(s): Artem Igorovich Morozov / Language(s): Ukrainian Issue: 40/2018

Purpose of the article is to reveal the features of modern folk-stage forms of the hopak in the aspect of connections with the folklore source. Methodology. The methodology is based on a combination of the historical and chronological principle, methods of systematization, art criticism analysis. Scientific Novelty. Scientific novelty consists in revealing the peculiarities of the interconnection of folk-scenic versions of hopak's dance with folklore sources, namely, the creation of a hopak based on the general lexical fund of the male dance of Central Ukraine and the elements of figurative filling that are inherent in the folklore source. Conclusions. The absence of a universal system for fixing dance phenomena, a high degree of improvisation of the hopak did not contribute to the preservation of folklore sources. It is justified to single out stylization of the second order – an imitation of composition and style features of the "Hopak" by P. Virsky, the evolution of which occurred from the production by P. Virsky and M. Bolotov of "Hopak" in S. Gulak-Artemovsky's opera "Zaporozhets za Dunai" (1936) through the variant of "Hopak" by Virsky and Bolotov from the "Ukrainian Suite" in the first program of the State Folk Dance Ensemble of the Ukrainian SSR of 1937 until the subsequent editions of P. Virsky, as a result of which the work acquired a compositional form, is preserved in the repertoire of H the national deserved academic dance ensemble of Ukraine named after P.Virsky and is a model for staging interpretations for many years. In modern culture, "Hopak" acts as a kind of "archetype," in the world it is associated with the Ukrainian nation and has also become an emblematic symbol of the Ukrainian folk choreographic culture.

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Improved Folk Instruments as a Factor of Holistic System of Academic Musical and Instrumental Culture of Our Time

Author(s): Alla Dmitrivna Chernoivanenko / Language(s): English Issue: 3/2018

The purpose of the work is to determine the logic of the musical-historical process of academization of the improved bayan/accordion, domra, balalaika, and bandura of the second half of the 20th - the beginning of the 21st centuries. The methodology of the study involves the use of aesthetic-cultural, comparative, theoretical and historical methods, as well as the analytical approach, which form a unified methodological basis. Along with the complex method, a socalled system approach is needed, which allows the object to be comprehensively studied at the most diverse, but interrelated levels. The scientific novelty of the work appears in the expansion of ideas about the genesis and functioning of academic musical and instrumental art as a holistic artistic, culturological and musical phenomenon, taking into account the key role of performing forms of being in the present and the need to update the instrumental-sound phono-sphere of modernity, which is immanently consistent with socio-historical , performing and timbre-textual properties of the advanced folk instruments of our country. Conclusions. The logic of the musical-historical process of academization of bayan/accordion, domra, balalaika and bandura reveals the socio-historical, artistic-aesthetic, instrumental-performing and culturological prerequisites of the phenomenon, among which the author specifically highlights the demand for "fresh" instruments by the very composer's creativity in change of its paradigms in favor of the emancipation of sound; immanent readiness of the "musicians playing folk instruments" to improvise-experimental acts of "sound search"; perspective for the academic phono-sphere of the "ultimate" chamber nature of plucking instruments.

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Ліризм української ментальної установки та її музичне виявлення

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 3/2018

Purpose of the article emerges the demonstration of specifics of the lyricism as the mental-social quality of Ukrainian culture and particularities her entailments in the music sphere. The methodological base of the study is interdisciplinary reflective-style and the culturology-hermeneutic way to semantic interpretation corresponding to buildings scientific and music-creative thinking in continuation position of T.Adorno, A.Losev, studies of A.Sokol, E.Markova, O.Muravskaya, and others. Scientific novelty got the result - theoretically independent realization to concentrations of the national-mental discovery of Ukrainian culture in creative "nоn-conformism" to avoid of аrtistic-style "mergings" of national artistic contribution with genre-style paradigm generally- European style apportionment. Conclusions. "Ukrainian lyricism" mark as the way of the thinking, in which rationalist subject delimitation of importances is in principal corrected over-sapidity "steaming" emotional thickenings-rarefactions that will add the person of the sort artificial cultural rhythm self-expression of carriers Ukrainian national character. Stands out the psychic paradigm of oscillation in the spiritual act of concentration and emotional sadness, which recognize in the lachrymal-moving mysticism of the Ukrainian Orthodoxy, passing mаximalism of "worldwide saving of" Russian Orient, hoping on spontaneity brotherhood that defines the animated over-individual character of the soul in Ukrainian lyricism. It is emphasized social phenomenon "confusion of scene and lives," which in life discovery marks аrtistical tone of public and larval decisions, confirming in mеlоdy-song manifestation morally-organizing abutment to nations outside of state-building effort. The last, being brought forth on the first plan of national self-determination at the end XX centuries, have realized, possible, discharge of the professional music from song-vоcаl manifestation in favor of chamber-instrumental "modesty" demand artistic begin in the aggregate national existence.

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PIRANDELLO OVVERO LA MELODIA DELL’ ALTROVE

Author(s): Sara Loranzetti / Language(s): Italian Issue: 12/2019

The paper aims at studying the relationship between literature and music in Pirandello’s Novelle per un anno, an aspect of the work that scholars not developed so far. Firstly, the paper examines the short stories where musical references occur; secondly, it analyses the selected texts, using Wolf’s intermediality to understand the artistic conception they imply and how they can be put in relation to Pirandello’s essays.

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НАЦІОНАЛЬНІ ОСОБЛИВОСТІ БОЛГАРСЬКОЇ МОВИ І ТРАДИЦІЇ НАЦІОНАЛЬНОГО ВОКАЛУ

Author(s): Liliia Vasylivna Nieicheva / Language(s): Ukrainian Issue: 35/2019

The purpose of the article is to study the specifics of the Bulgarian language’s phonetics and its effect on the formation of Bulgarian singing. The methodology of this work is provided by intonation concept of music represented by I. Liashevsky[7], BorisAsafyev’s follower in Ukraine [10]. And also, by theoretical findings of the scholars D. Gachev[5; 6], M. Remnyovа [11] and T. Popovа[10] who studied the formation and development of the Bulgarian language’s phonetics and natural factors that affected its specifics. Scientific novelty: for the first time, a generalization was made regarding timbral advantages of Bulgarian religious and opera music in connection with phonetics of the Bulgarian language.

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Гармонізації професором Одеської державної консерваторії С. Орфеєвим Степених і Прокименів для богослужіння

Author(s): Dariia Volodymyrivna Androsova / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is a study written for church Religious service of harmonizations of canonical melodies, realizable professor, rector to Odessa state conservatoire S. Orfejev, which composer creative activity ate his participation in church divine service practical person writing the music, especially of the temple destination. The methodology of the work is the intonation approach of the school B.Asafiev in Ukraine. The base place occupies the method of the genre-style comparative analysis, hеrmеneutics method, as well as positions performance analysis, as this is presented in works of V.Medushevskiy, E.Markova, as well as in work of S.Skrebkov and others. The scientific novelty of the study is determined to appeal to carried in musicology typology analysis, in which not author's unique of work, but executed on canon creative variants given expressive typology forms the sense artistic-aesthetic presentation of the music. For the first time information is incorporated in the scientific everyday life of Ukraine about harmonization by composer S.Orfejev of canonical melodies to temple Services. Conclusions. The analysis of the harmonizations made by S.D. Orfeev demonstrated a high ability to typologically express the ideas-images of music set by the Service, defining the cant-partisan style character of the invoice. An individual perspective of the typological presentation of harmonization is found - by relying on N. Leontovich's "Palestinian", by drawing on bar-form effects both by organizing individual Power (in the first voice) and by defining the compositional alignment of this kind in the recording of Power and Prokymen. The harmony of the typological correlations is obvious - individualized by the Orfeev-composer, defined by high education, inherited from the family and the first professors of the Odessa Conservatory, professionalism and regency skills, finally, the fullness and sincerity of the Orthodox Faith.

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Musical Ethos of the Epoch of Middle Ages

Author(s): Tetiana Borisivna Kablova / Language(s): English Issue: 2/2019

The research is aimed at studying the concept of musical ethos, as a characteristic universal in the conditions of the cultural space of the Middle Ages. The mentioned topic forms the following task: to indicate the main aspects of the formation of the concept of ethos of music in the Middle Ages. The methodology of work is to use comparative, historical and logical methods, a hypothetical and deductive method, which suggests the need for the existence of universal concepts in artistic cultural space, where there are certain concepts that are studied in the Middle Ages. Music is considered by the author as a form in which spiritual and real are combined. Scientific novelty. The musical ethos of the Middle Ages is primarily studied from the standpoint of the church, while at the same time not losing its material essence of scientific novelty. In the cultural space, the musical ethos is a spiritual core, a moral and psychological platform, on which the figurative and aesthetic model of contemporary humanity of life and worldview is built up. The musical ethos is characterized as the perfect embodiment of the material musical substrate, in the process of mastering the typical signs of time. Conclusions. The musical ethos is seen as a definite universal notion. It is the musical ethos that embodies the socio-psychological orientation of the world picture and the general mental setting for the formation of the cultural-civilizational process, its ability to generate and cultivate new types of reactions, ideas, and tastes in these forms. Thus, the musical ethos appears to be the genesis for the implementation in artistic forms of the preferences and cultural images.

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Ретроспективність як проектна практика формування актуальних образів у системі моди ХХІ століття

Author(s): Maryna Viktorivna Kolosnichenko,Natalia Vladyslavivna Chuprina / Language(s): Ukrainian Issue: 2/2019

Purpose of the Article. Primary purpose of this research is to describe the retrospectivity as the factor of antiglobalization and individualization in the fashion at the ХХI age. Also the method of introduction of trends of retrospectivity as a project practice in the fashion system of the end ХХ - beginning of ХХI ages is determined in the article. The methodology consists in systematization and generalization of theoretical and factual information on the artistically-projective methods of development of actual fashion appearances. The basis of methodological principles of description of retrospectivity facilities are literary-analytical and comparatively-associative methods. Scientific Novelty. It is grounded in the article, that expansion of spheres of influence and improvement of ways of retrospective elements adaptation in the modern fashion system today becomes the ponderable factor of forming of actual projects appearances, especially in the context of crisis of consumption. Accordingly, address to the reasons of cultural legacy by many apologists of consumer society is characterized as a search of individuality and self-expression, assisting to development of retro- and vintage trends in the fashion system. Conclusions. As a result of the conducted research it is possible to conclude, that designers realized give the suits or appearances created as compiling of the separate elements used on the basis of quoting or stylization. It is marked in the article, that a wide variety in directions of project activity and typical creative handwriting of modern Houses of fashion and trades marks, make the epoch of using of retro-elements and retro-styles the leading trend of the modern fashion system functioning and is not an instrument in forming of new eccentric stylish decision which will go down in history suit and fashion.

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Маска як елемент театральної культури: наукова рефлексія

Author(s): Alla Oleksandrivna Medvedeva / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is to outline the main strategies in the study of the mask in different historical periods of the development of performing arts, taking into account the scientific aspect. The methodology included an appeal to general scientific and special methods, such, in particular, as a method of content analysis of an art history source base; synthesis; analytical and under. Cultural, historical and art history approaches were also used, which made it possible to conduct an objective study, taking into account the historical and scientific aspect of mask development in theatrical culture. Scientific novelty. The study analyzed the weighty baggage of theoretical scientific works, which allows for all the variety of approaches and assessments of the role of a mask in the expressive means of performing arts to highlight the functions, forms, techniques and methods for creating an artistic image by an actor; to identify the artistic features and characteristic genre features of a mask for the performance of its use in modern acting training. Conclusions. The mask is the undoubted dominant of the creation of an artistic image in the work of an actor, which is revealed with the help of the specific possibilities of theatrical performance. The artistic “arsenal” of the mask has been tested by centuries-old practice and reveals its viability in the most modern stage systems. Characteristic is the expansion of interest in theatrical art from the beginning of the twentieth century, and the active search for new means of expression has aroused interest in the mask as a means with ancient traditions. A wide range of issues, an insufficient number of scientific works, the prevalence of nonfiction creates an objective need to develop various issues of performing arts as the main part of the theatrical art, which requires constant updating and updating both in practical and theoretical aspects, which feeds the interest in the study of the mask.

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Musical and Instrumental Foundations of Modern Composition Techniques

Author(s): Alla Dmitrivna Chernoivanenko / Language(s): English Issue: 2/2019

The purpose of the work is to analyze the instrumental nature of modern composition techniques in the unity of their cognitive (performing and composing) and instrumental and sound parameters. The methodology of the research consists in application of aesthetic-cultural, comparative, theoretical and historical methods, as well as the analytical approach, which form a unified methodological basis. The scientific novelty of the work consists in expanding the notions about the genesis of musical art basing on the analysis of relations of the musical and instrumental principles and the nature of modern composition techniques. Conclusions. Instrumental nature of modern composition techniques is determined by the ongoing processes of individualization of composer's work in the areas of the author's vision of sound material, the relation to musical text, musical chronotopes, musical language, timbres, texture, shaping, etc. The factor of marginal diversity, technical complexity, and often the impossibility of the vocal embodiment of the sound material of compositions – not only sonorist, pointillist, aleatory, timbral-characteristic, etc., but also extramelodic (with a higher order melody consisting not of individual tones, but of the whole texture, when the entire texture becomes a melody) directly demonstrates the instrumental nature of the technique, reproduced in genres of music - mainly without the use of voices or their use in "unvocal", an instrumental sound format, often with the nonverbal meaning. Finally, the very musical thinking in modern composition techniques acquires the qualities of instrumentalization.

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Традиції культури мистецької франції та фортепіанні концерти К. Сен-Санса

Author(s): Lilia Mykhaylivna Shevchenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article is a realization of organic character to the lyrical concept of piano concerto in the French tradition, presented Concerto С.Saint-Saёns, actual intonation expressiveness which is determined "nеоcymbolism" (on E.Markova) to pоstvаnguard in music and "nео-Gоthic in art" in Ukrainian refraction of post-pоstvаnguard (see to work O.Novikova and others.) The methodology of the work is culturology approach in science about art, presented including school of B.Asafiev in Ukraine, begin which are fixed french Ars nova begin XIV century and are turned in riverbed theatrical mimеsis of J.-J. Rousseau. 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. Scientific novelty of the work is concluded in that for the first time in musicology of Ukraine matches up the intonation formation is proto-symbolism, symbolism and nео symbolism begin XXI centuries in concrete manifestation of the genre filling in themes and in composition particularities of the structure of the artifact; for the first time Concertos Network-Sansa and, first of all, Second and Fifth became the theme and hermeneutic analysis in aspect actual intonation fullness of the manifestation, in correspondence to symbolism gravities of post-avanguarg. Conclusions. The creative activity of C.Saint-Saёns chronology and by style preferences is connected with proto-symbolism and proto-neoclassicism trends, which assist the ascent a symbolism, but subsequently nеоsymbolism art of verges XIX-XX and XX-XXI cent., differing salon estheticism and animated honouringп of national tradition and French artistic insight first of all. The majority from created Sant-Saёns of symphonic compositions pertains or to the genre of the concerto directly, or are such essential expressiveness and instrumental composition, presenting composition; including this 5 Piano Concerto. Of them, popular Second demonstrates style eclectic significant for the symbolism approach, but brilliant play-off reproduces "diamond style" of classicists french pianism, which osculation find beside S.Rahmaninov and, more so, besides A. Skrjabin. The concert principle of the thinking of Sant-Saёns is determined by address to spiritual headwaters creative activity and forms natural parallel to the ascent of the interest to church art, lifted on height by the creative activity of C.Franck and V. d'Indy.

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Естрадний вокал як відмінна риса урбаністичної культури

Author(s): Oksana Oleksandrivna Sinenko / Language(s): Ukrainian Issue: 2/2019

The purpose of the article. This article has the main purpose to analyze pop vocal as a specific phenomenon generated by urban culture and way of life of the big city, which implies, accordingly, the rhythmic features of pop performances. The methodology of research is based on an interdisciplinary approach to the pop vocal as an object that exists not only on the stage, it is not isolated, but penetrates into different spheres of life. In addition, pop performance is the background, which due to its accessibility is perceived as a backdrop, not just as an independent phenomenon. Significant role here also belongs to the sociology of music. Scientific novelty of the article is that in this article pop music is considered not only as an isolated phenomenon, the place of deployment of which is a scene. The performance and field of performance of the pop artist is a product of urban cul ture and reflects its rhythm. Accordingly, pop performance is a complex phenomenon that does not exist separated from other cultural patterns, but is a background that accompanies the dynamics of urban processes. Conclusions. Various aspects of pop vocal are studied by scientists in works devoted to different fields of culture. As a cultural phenomenon, pop performance is inappropriate to consider from the point of view of its stage isolation, because it penetrated almost all spheres of life, everyday life of man. Not least this was due to the support of the pop music, which has become like a kind of city ambient, on the part of the media. Thus, pop performance expresses the specifics of the urban way of life. Hence, such essential characteristics of pop vocal as the frequency of changes in the rhythm of songs and the sound of the performer’s voice, the lack of stable norms and rules, the combination of achievements of different layers of culture (both academic and folk based on folk-based basis), standardization and an attempt to develop their own style and manner of execution, variety of subjects, accessibility for any listening audience, dynamism, unity. It is also possible to characterize the very urban culture. Variety performance is nothing more than a “rhetoric of steps”.

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Wpływ arteterapii na rozwój osobowy dzieci w wieku przedszkolnym

Author(s): Marek Jan Kuciapiński / Language(s): Polish Issue: 3/2013

Art therapy, or therapy through art, is a form of therapy that uses various techniques such as art, music, theatre, etc. The art therapy uses the main and specific objectives. The former could include diagnosis, which enables us to find emotional, cognitive development and the manual abilities of children. The specific objectives are to stimulate many talents and develop their interests and talents. Therapy through art is a process of learning, it allows you Marek to analyse various forms of art education and it defines the relevant requirements of children. When it comes to proposed methods the ones that allow you to understand the subject and imagine the end result must be mentioned, those methods that stimulate the expression. Each of the methods of art therapy deals with different techniques of occupational therapy. Therapy through art might become a source that will acquire significance in working with children - it could develop their attitudes, knowledge and enrich the crash of the usual divisions of education, teaching, learning and educational processes.

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The Town and the Widow: The Journey of Elisabeth of Luxembourg to Pozsony

Author(s): Renáta Skorka,Boglárka Weisz / Language(s): English Issue: 2/2019

Due to the vacancy on the Hungarian throne after the death of Albert I, King of Hungary, the pregnant queen set out for Pozsony (now Bratislava, Slovakia; Pressburg in German) to give birth to the future Hungarian king in the vicinity of the Habsburgs. However, Ladislas the Posthumous was born en route, in Komárom (now Komarno, Slovakia). The queen, having seized the Holy Crown of Hungary, went to Székesfehérvár to have her son crowned there in accordance with the Hungarian customs. Thus, her action preceded the crowning of Wladislas Jagiello, who had been invited to Hungary in the meantime by a group of barons to take the Hungarian throne. The city of Pozsony constantly supported Elisabeth and her court in realizing their plans. The reports of the queen’s envoys and the account book of Pozsony help us reconstruct the exact course of events leading up to the queen’s arrival in her beloved city.

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