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ЖІНОЧІ АРТ-ПРАКТИКИ У КОНТЕКСТІ СВІТОВОЇ КУЛЬТУРИ ХХ СТОЛІТТЯ

Author(s): Daria Lutsyshyna / Language(s): Ukrainian Issue: 4/2020

The purpose of the article is to determine the peculiarities and role of women's artistic practices such as painting, sculpture, installation, performance, crafts, etc. in the cultural process, to determine the historical and social context – both in Ukraine and the world - in the creative activities of women artists. Methodology. The study includes the methods of systematization, formal, stylistic analysis, historical, comparative, descriptive, biographical methods. The scientific novelty lies in the research of the creative activities of women artists, which is one of the promising and understudied fields in the development of art history and historiography. These results are significant for further research on the works of women artists both in Ukraine and abroad. Conclusion. As a result, the peculiarities of the artists' work were defined, their role in the artistic process of the 20th century was explained, the influence of the sociopolitical and ideological factors on the creative work of Ukrainian and foreign female artists was shown.

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ІНСТИТУЦІОНАЛЬНЕ ПОЛЕ РОЗВИТКУ КУЛЬТУРИ ТА МИСТЕЦТВ УКРАЇНИ

Author(s): Volodymyr Alexandrovich Komar / Language(s): Ukrainian Issue: 2/2021

The purpose of the article is to give a review of the current environment of management and the development of culture and arts in the system of cultural and creative industries in Ukraine. The methodology of research is the application of the descriptive method and definitive analysis, functional analysis, formal characterization in the process of research regarding the national field of management and development of culture and arts segment in Ukraine. The scientific novelty is the analysis of the institutional field of national development of culture and arts in Ukraine. The scientific novelty is an analysis of the institutional field of development of national culture and art in the aspects of public administration, institutions of higher education (HEI) in the indicated areas, and government mass media channels. Conclusions: Effective organization of national management of institutional field development of national forms of cultural and art interaction – that is the Ukrainian cultural need in the process of its civilizational development. The main aspects of development and support of culture and arts from the government institutions side, in our opinion, are coordination of means of the government management system in the cultural and arts industry, institutions of higher education in culture and arts industries, and mass media broadcasting channels, which are owned by the government. National artistic, cultural-and-artistic, artistic-and-technological, scientific, educational, cultural and intellectual-and creative capable part of a human capital asset (involved in the systems of the national arts and creative production, including government management organizations in the field of cultural and creative industries) must support the organization of national arts and cultural platforms of interaction based on communicative cooperation of groups of arts and cultural production, as well as comprehensive rebroadcasting of the best-produced products by unions of arts and cultural production by informative, mass media, arts, educational governmental means (tangible and intangible). The country should unite the efforts of specialists in this sector in the field of institutional communication of cultural-and arts interaction, should support the formation of bases for the practical production of the national arts and cultural production of all branches of the sector of cultural and creative industries of Ukraine.

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НАТУРА І ОБРАЗ: МІСТО В МИСТЕЦТВІ ЧЕРНІВЦІВ ХХ – ПОЧАТКУ ХХІ СТОЛІТТЯ

Author(s): Iryna Mishchenko / Language(s): Ukrainian Issue: 2/2021

The purpose of this article is to consider the peculiarities of the reflection of the city – its architecture and inhabitants – in the works of Chernivtsi artists of the 20th and early 21st century, to analyze the differences between their views on the reproduction of urban motifs. The methodology consists in the application of the historical chronological method, art analysis, and generalization, comparative and systematic approach. The scientific novelty lies in the introduction into scientific circulation of works by artists of the specified time, in understanding the evolution in the reflection of the city in the works of authors with various artistic orientations. Conclusions. In the paintings and graphics of the 20th – 21st centuries, several options for solving urban landscapes can be defined, among which the most common is a careful reflection of existing architectural monuments. In the 19th century in European art, in particular in Impressionist painting, the desire to convey not only the appearance but above all the spirit of the city became noticeable, depicting the townspeople, emphasizing the bustle or poetry of squares and streets. At the turn of the 20th-21st centuries the artists are no longer limited to the usual fixation of what is seen, but try to create a conceptual image of the city, to tell a story through iconic images and symbols, reveal their own position in particular and to preserve the authenticity of an object or the city in general. Such a variety of approaches for creating an urban landscape is partly due to differences in preferences formed during studies in art institutions and is also characteristic for the art of Chernivtsi – a city where people of many nationalities with different cultural traditions have lived side by side for centuries. Ultimately, the artists who worked here in the 20th century were often graduates not only of Ukrainian schools or universities, but also of well-known European institutions, including Vienna, Munich, Florentine, Berlin, Kraków, or Bucharest academies.

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Sztuka uliczna jako źródło wiedzy na temat współczesnych społeczeństw – propozycja i weryfikacja metody badawczej

Author(s): Karolina Lachowska,Marcin Pielużek / Language(s): Polish Issue: 10/2021

The article’s main aim is to present and verify the research approach that can be implemented in street art research in the field of social communication and media science. By focusing analysis on four dimensions – space (where), temporality (when), representation (who) and message (what), it is possible to obtain comprehensive knowledge about key social actors, propagated ideas, postulates and values, and to delineate the main dividing lines, points of reference, icons and symbolic characters. We treat street art as a form of socio-political commentary at the local level, urban space as a channel, and individual manifestations of street art as a medium of communication. The methodological proposal’s usefulness will be verified based on a corpus of 195 photos showing various forms of street art created during the protests in Chile, taken by the Authors in December 2019.

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МИСТЕЦЬКИЙ ОБРАЗ НОРВЕГІЇ: ДО ПИТАННЯ ФІКСАЦІЇ КУЛЬТУРНОГО ЛАНДШАФТУ

Author(s): Olena Som-Serdyukova / Language(s): Ukrainian Issue: 2/2020

The purpose of the article is to review changes in worldview and artistic expressions in fixing the cultural landscape of Norway; to trace the reasons in the formation of the style of romanticism, where research function in reflecting nature and culture had a big role; to analyze the features of the local artistic tradition and forms of stylistic transformations that led to the evolution of the cultural landscape vision. To achieve the goal, the analyses from the works of J. Flintoe, J.C. Dahl, N. Astrup, C. Krog, E. Munch, G. Mynthe, E. Werenskiold, K. Kielland, H. Sohlberg, B.Ness, N. Krantz. This made it possible to focus on figurative diversity in the interpretation of the cultural landscape. The research methodology is based on the application of theoretical methods, art analysis, and systematization of works that correspond to this topic. The scientific novelty of the work lies in the actualization of artistic possibilities in capturing changes in the cultural landscape. Conclusions. Paintings are becoming a part of the scientific documentation for the present day. This leads to a new perspective, where painting becomes historical evidence and valuable material for modern architects, restorers, historians, archaeologists. According to the results of the research, it was proved that in the period from the 1820s to the 1920s the most expressive and active development of the cultural landscape theme, was realized by using art as a document. Various clarifications have been developed, such as the mood of romanticism transforms into the style of modernism, and how the compositional constructions of the Middle Age are actualized in the style Art Nouveau.

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ВІЗУАЛЬНІ ДОСЛІДЖЕННЯ У КОНТЕКСТІ ЕКСПЕРТИЗИ КУЛЬТУРНИХ ЦІННОСТЕЙ

Author(s): Svitlana Shman / Language(s): Ukrainian Issue: 2/2020

Purpose of the article. The article analyzes the methodological support of the examination of cultural values, including the initial step - art analysis, clarifies the interdependence of art and visual approaches in the interpretation of works of art. In particular, the prospects for the development of visual research as a source of new information during the examination of cultural values are identified. The problems of visual research of culture are highlighted and the specifics of its application during the research of works of art are determined. The possibility of implementing methods of visual and expert research of cultural values is considered. Methodology. The methodological basis of the study were the principles of historicism, comprehensiveness and scientific reliability, as well as art and cultural approaches, typological and theoretical generalization, which allowed to determine the main forms of visual research, its interaction and role in research of cultural objects. The scientific novelty of the obtained results is determined by the possibility of applying new methods and approaches in expert activity, in particular understanding the current trends in the analysis of cultural objects, acquaintance with the dynamics and forms of analysis of visual research, understanding the theory of images used by visual researchers. examination of cultural values. Conclusions. Today, new methods from various fields of knowledge are actively involved in the study of cultural values, which led to the emergence and formation of a powerful domestic school of expertise in the field of culture. Visual research is a relatively young phenomenon, characterized by pronounced socio-cultural dynamics. Consideration of visual research in the context of the examination of cultural values is an attempt to go beyond traditional art history and the formation of new value criteria, and possibly the social components of expert research.

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МИСТЕЦТВО ГРИМУ: СОЦІАЛЬНИЙ МІФ ТА СОЦІАЛЬНА СТРАТИФІКАЦІЯ

Author(s): Kateryna Malyarchuk / Language(s): Ukrainian Issue: 1/2021

Purpose of the article. The purpose of the article is to analyze the phenomenon of makeup art and its connection with social stratification and social myth. Methodology. The study of the phenomenon of makeup in connection with social mythology and social stratification is associated with the use of general scientific methods of analysis, generalization, synthesis, etc. Not only in line with art history and sociological knowledge, but also knowledge of psychology, cultural studies, philosophy, etc., which provides for the integration and inclusive combination of appropriate methods and approaches. The artistic and typological method made it possible to analyze the phenomenon of makeup, social myth and social stratification as integral phenomena with specific features. The combination of anthropological, axiological and historical approaches with the use of socio-cultural and art criticism tools made it possible to identify the main value-semantic and content-structural constants of these phenomena. Scientific novelty. The art of makeup is presented as the basis of social mythology and its connection with social stratification, which makes it possible to position makeup as one of the backbone components of the socio-cultural system, as well as facilitate the study of the entire spectrum of its cultural phenomena. Conclusions. Makeup, as an axiologically loaded phenomenon, is the basis for the creation of social mythology and support for social stratification, characterizes the processes of social development, significantly affects the public consciousness and behavior of both social groups and individual subjects. By the nature of the course of the processes of being, the phenomenon of makeup allows one to see the specifics of social phenomena and determine their place in the structure of social life. The positive role of makeup is that it is one of the conditions for the integrity of society, providing cultural, art, moral, etc. the continuity of its imperatives. The negative one is that it not only represents the social stratification of society, but also becomes a means of deepening it, stereotyping and accumulating in its practices both positive and negative patterns of sociocultural models of behavior.

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Історичний контекст та сучасні тенденції розвитку в ювелірному мистецтві України

Author(s): Anastasia Vitaliyivna Varyvonchyk,Oleksandr Tsugorka,Bogdan Mazur / Language(s): Ukrainian Issue: 39/2021

The purpose of the article. Illumination of the problem of the decline of traditional folk arts associated with the functioning of unique art crafts in Ukraine in the direction of jewelry art. Methodology. The research methodology is based on the use of observations of art-historical, historical and cultural analysis. The scientific novelty lies in focusing on the disclosure of historical facts of the development of jewelry art in Ukraine, which further contributed to mass production on enterprises organized by the state and the definition of the overall issue of jewelry. Conclusions. At the end of the twentieth century, most state-owned enterprises have not sustained the economic transition to market relations. The loss of the supply system of raw materials, the decomposition of interregional well-established connections, restrictions of masters in creative opportunities, an inadequate taxation system, the rise in the price of energy carriers, and the reduction of sales volumes affected the rapid fall in the activities of art jewelry. Modern masters of jewelers after the proclaiming of sovereign Ukraine continued to develop, which noted the creation of the state's poster service of Ukraine, and later the collective association - the association of jewelers of Ukraine. Oriented on world fashion trends increased the aesthetic and artistic level of products of the Ukrainian jewelry industry. Education and growth of small private jewelry firms, carrying out personal and group exhibitions of jewelers in Kyiv, Lviv, and other cities have a positive effect on the artistic form of products, which has not always correlated with the economic component.

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Українська вокальна музика ХХ – початку ХХІ століття у педагогічному репертуарі солістів-вокалістів

Author(s): Femiy Mustafayev / Language(s): Ukrainian Issue: 39/2021

The purpose of the article. The paper describes the contemporary vocal pedagogical repertoire from the standpoint of its representativeness in relation to musical trends of the 20th – early 21st century. The methodology is based on a combination of historical, cultural, systemic, analytical, predictive methods, which made it possible to demonstrate the limited educational repertoire of vocalists, respectively, with didactic tasks and potential openness to expand its genre and style palette in connection with the need to train a universal academic singer. The scientific novelty of the paper lies in the fact that in Ukrainian science for the first time the problematic issues of the content of the pedagogical repertoire of academic vocalists in the context of the genre and style diversity of vocal music of the 20th – early 21st centuries were revealed. Conclusions. The contemporary pedagogical repertoire used in the preparation of academic vocalists does not reflect the stylistic and genre diversity of the musical art of the 20th – early 21st centuries, in particular, it does not contain avant-garde compositions, which have long been a constant of contemporary musical culture. Practical acquaintance with avant-garde classics is possible as part of an elective for those vocalists who plan to specialize in this direction of academic music, however, the pedagogical repertoire of training an academic vocalist does not provide for the performance of works of an avant-garde character and the acquisition of appropriate skills. The reasons for the inexpediency of including avant-garde music of the 20th – early 21st century in the main educational repertoire is the absence of a temporal distance, not always a high artistic level of contemporary works, the impossibility of including contemporary vocal music of an avant-garde character in the anthology due to the peculiarities of its notation and forms of existence, as well as the priority for the educational process of the classical vocal repertoire as such that forms the vocalist’s executive apparatus. At the same time, Ukrainian variety classics of the 20th century is an integral part of the educational repertoire of a contemporary academic vocalist, as it serves as a bridge between elite and popular musical culture.

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Аранжування і транскрипція у творчості Олександра Зілоті в контексті традицій музично-редакторської практики кінця ХІХ – першої половини ХХ століття

Author(s): Mariya Kulish / Language(s): Ukrainian Issue: 39/2021

Purpose of the article. Consists of research of redactional heritage by Alexander Siloty at the border of the XIXth-XXth centuries and analysis of his arrangement and transcriptions. The methodology consists of using resources-studying, comparative methods, and also method of systematization and generalization. The resourcesstudying method was used for analyzing previous resources and working with the full edition of redactions by Alexander Siloty. A comparative method was necessary during the comparison of the first piece`s resource and its transcription. Method of systematization and generalization consists of generalization for processed material and summarizing of this exploring. This mythological approach allows the analysis of details previsions information at the thymes of arranging and transcriptions by Alexander Siloty. The scientific novelty of the article consists of an introduction to scientific circulation redactions by Alexander Siloty, which are not explored at this moment, and also in locating of the creating by Alexander Siloty arrangements and transcriptions for piano pieces for orchestral and vocal genres. Сonclusions. Arrangements and transcriptions by Alexander Siloty absorbed in itself basis points of edition`s working by representatives of the previous generation, as C. Cherny and F. Busoni. But pedagogical and performable functions in Alexander Siloty`s redactions were actually balanced, in the same moment when pieces by previous representatives were calculated for the most part only for professional pianists. Identifying during exploration this approach in the way of editions` deleting on amplifications and reductions, did conclusions, that they had full right to take place in the repertoire of the modern pianists and in the pedagogical base of professional piano teachers. Modern pianist sets a goal of the technical problem`s solving and maximally exactly represent of score`s text, and left interpretative goals on the second side. On the other hand, redactions by Alexander Siloty weren`t focused attention on the only pianistic tricks. The general goal of it becomes the individual mind through the personality of the single performer.

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Айдентика як поняття комплексної системно–концептуальної моделі ідентифікації в архітектоніці дизайну

Author(s): Tetyana Mikhailova / Language(s): Ukrainian Issue: 39/2021

Purpose of Article. Analyze the differences in the socio-practical use of the terms "identica", "visual identity", "verbal identity", "nonverbal identity", "corporate identity" and classify the term "identica", as scientific a definition of a complex system-conceptual model of identification. Methodology. Methods of observation, comparison and generalization were used to solve the tasks at the empirical and theoretical level. The analysis of identity of foreign and domestic design projects was carried out. For the conceptual classification of the term "identica" as a scientific definition, methods of systematic analysis of visual, linguistic and practical integration of accompanying terms were used. Scientific Novelty. The study analyzes the common and different characteristics of the socio-practical use of the terms "identica", "visual identity", "verbal identity", "non-verbal identity", and "corporate style". Based on the analysis of these terms, it was first proposed to consider "identica" as a scientific definition of a complex system-conceptual model of identification in the architecture of design. The proposed ideas and conclusions can be used in theory and practice of development and implementation of advertising campaigns, correction or creation of design strategies. Classification of the term "identica" as a scientific definition is an important step in the development and integration of interdisciplinary research in such areas as management, marketing, design, culturology, art history and others. Conclusions. The new communication system in advertising and design requires in-depth study, definition, and scientific substantiation of many terms, including the meaning of the term "identica" and its consideration as a scientific concept. The study analyzes the differences between the socio–practical use of the terms "visual identity", "verbal identity", "non–verbal identity" and "corporate identity", identified their common and different characteristics. Based on the analysis of these terms, "identica" is considered as a definition of a complex system–conceptual model of identification through sensory analyzers of the consumer of visual, verbal, and non–verbal information.

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Новаторство режисерської лексики Оскараса Коршуноваса

Author(s): Iryna Vitaliyivna Ivashchenko,Victoriya Strelchuk / Language(s): Ukrainian Issue: 39/2021

The purpose of the article is to reveal the peculiarities of the theatrical direction of O. Korsunovas and analyze the innovation of his director's vocabulary. Methodology. Comparative and structural methods were applied, which contributed to the identification of the originality and diversity of innovative directorial vocabulary; the method of art history analysis, the typological-structural method, and the method of artistic-compositional analysis of stage works, thanks to which the director's "toolbox" has been studied and structured, etc. Scientific novelty. The directorial activity of Oskaras Koršunovas is investigated in the context of the leading strategies of modern European theater; based on the art historical analysis of the performances "There to be here", "Old" by D. Kharms, "Hello Sonya, New Year" by A. Vvedensky, "P.S. case OK "S. Parulskis," Roberto Zucco "B.-M. Colts, “Hamlet” by W. Shakespeare and others, the innovative ways of representation applied by the director were revealed and analyzed; the characteristic features of the director's vocabulary were determined and it was proved that it is an open and dynamic system that develops under the influence of urgent problems of modern society; previously unknown factual material was introduced into scientific circulation. Conclusions. The art of directing by O. Korsunovas is one of the most striking examples of contemporary theater, which deals with the problems of a modern person, and the specificity of its content and form emphasizes the crisis of representation of the late 20th - early 21st centuries, manifests itself through deep changes in relation to action, feelings, scene perception, fragmentation, the crisis of bodily mediation and invariant supports of representation, both at the level of setting and at the level of reception. Directing by O. Korsunovas is distinguished by a fundamental innovation of views, a desire to destroy the ideological, artistic, and methodological limitations of theatrical direction, a unique interpretation of classical plays as modern ones, with an emphasis on contemporary moments, an experimental development on the basis of a theatrical laboratory of unique metaphor and imagery. The research revealed that the characteristic features of O. Korsunovas' directorial vocabulary are: application of the principle of deformation, contrast, and transformation, which take the form of a tragic grotesque; coding in elements of presentation of principles related to the specifics of drama; using the subject as an abstract construction; the use of the chorus - an element of classical Greek theater - in the performances of works of modern drama, etc.

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Акторський тренінг Майкла Сен-Дені: імпровізація в масці

Author(s): Valeria Dmitrievna Shtefyuk / Language(s): Ukrainian Issue: 39/2021

The purpose of the article is to analyze the features of the theatrical and pedagogical activity of M. Saint-Denis and to reveal the specifics of the acting training "Improvisation in a mask" in the context of students' work with a neutral and characteristic mask. Methodology. The biographical method was applied (to cover the director's and pedagogical activity of M. Saint-Denis); the typological method (for identifying and determining the main features of the theatrical pedagogy of M. Saint-Denis in general and the methods of teaching the actor developed by him in particular); the method of comparative analysis (for the study of the training "Improvisation in a mask" with neutral and characteristic masks), etc. Scientific novelty. Studied the actor's training "Improvisation in the mask" of the leading theater director and teacher of the twentieth century. M. Saint-Denis and revealed the features of the work of student actors with a neutral and characteristic mask; analyzed the theatrical and pedagogical activities of M. Saint-Denis as a standardizer of theatrical practice in the context of the developed and implemented curricula for acting in drama schools founded with his assistance (London Theater Studio, Old Vic School, Strasbourg Higher School of Dramatic Art, Canadian National Theater School and the Juilliard Drama Department). Conclusions. M. Saint-Denis's holistic model of acting training is formed on the basis of an organic combination of a physical approach, in which the body learns to turn into an absolute expressive instrument, an internal approach, the so-called realistic characterization, and a comprehensive understanding of the style in the context of mastering physical, vocal, intellectual, creative and emotional skills, allows student actors to master all kinds of drama. The study revealed that the mask was considered by M. Saint-Denis as a temporary working tool that helps to reduce feelings of insecurity and awkwardness, enhance the ability of internal self-awareness, enhance expression and experimental activity, develop concentration of attention, self-control of a student-actor and a harmonious path from the inception of physical qualities. character to their external dramatic expression. The student's task is to fill the mask, to give it life and feelings. If the actor who animates the mask is convincing and sincere, it feels like he has his own facial expression. The aim of the training is: to eradicate cliché-manners; teach students to develop and release creative impulses; to teach students to work on classical roles or roles of the "big style" (according to M. Saint-Denis)

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Ідеологія виразності в українській скульптурі повоєнного часу

Author(s): Oleksii Oleksiyovych Rohotchenko / Language(s): Ukrainian Issue: 38/2020

Aim. The study reveals the new facts about intervention of the ideology of socialist society into the creative process of Ukrainian sculptors during the post-war era. During this period, the style, later became known in the art history as the socialist realism, came to dominate in the main areas of art—sculpture, fine art, and graphics. One the objectives of the research was illustrating the forcible intervention of ideology in the creativity of Ukrainian artists of the period. Methodology of the study employs historical-logical, comparative methods, and interviewing. The sources in the previously classified archives allowed to discover little-known facts and to analyze the modes of behavior of the artists in non-free society. Scientific novelty of the research is providing a better understanding of the processes taking place in the circle of Ukrainian plastic artists during the 1940s to the 1960s. The article presents the real picture of artistic and social aspects of life of the sculptors in the Ukrainian SSR. Conclusions. The style labeled as socialist realism, which the sculptors ought to follow, was in fact almost photographic naturalism with the tendency for literary descriptiveness and theatricality. The teachers at the departments of sculpture expected students to create large-scale works, thus directing the young generation towards monumental sculpture. Such large, sometimes enormously large works later on would be commissioned for big and small cities. Ideological control played the main role in creating sculptural images. There were many multi-figured sculptural compositions produced, however, their number still did not match the number of multi-figured paintings. The party line prevailed over the artistic quality. The main and only figure for sculptors to depict was a Soviet hero. And since such hero was also depicted in the other fields and genres of art (fine art, literature, music, cinema and theatre), it could be safely said that Ukrainian sculpture of the period pursued the Soviet ideological path. The myth about the leading role of the party policy, forcibly introduced by the party ideologists, did not leave sculptors space and opportunities to create some other images. Socialist realism was considered to be the one and only style, supported by the society.

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Соціальні танці в соціокультурному просторі ХХІ ст.: спортивно-змагальний аспект

Author(s): Roman Gritsenyuk / Language(s): Ukrainian Issue: 38/2020

The purpose of the article is to identify and analyze the specifics of the development of social dances in the modern space; identify features and characterize the prospects of new sports and competitive context of social dancing. The methodology is based on the principle of a holistic and systematic approach to the study of social dances. The analytical method is applied (to determine scientific approaches); a method of artistic-stylistic and art criticism analysis (to identify and justify the development trends of the social dance of the twentieth century); system-functional method (contributing to the structuring of competitive social dances as a phenomenon of modern sociocultural space) and other. Scientific novelty. For the first time in domestic art criticism, the development of the sports and competitive context of social dances of the twentieth century has been investigated; features of the performance technique and dance vocabulary of social dances are analyzed: Argentine Tango, Bachata, Meringue, Salsa, West Coast Swing, Jitterbug, Disco Coffs, as well as the Caribbean show, Latin show, and Caribbean dances - dance programs approved by the International Dance Organization for European and World Championships at the present stage; The specific differences of non-competitive and competitive social dance in the sociocultural space of the 21st century are revealed. Conclusions. The study revealed that at the present stage in the context of the development of the sports and competitive direction of social dances, their characteristic features are being transformed (the value of the visual component of the dance is enhanced, the technique of performing social dances, etc. is standardized) and functions (except for communicative, informational, emotional, social, recreational, psychotherapeutic, educational, aesthetic, visual, etc.) become dominant. Social dances at the present stage of the development of world dance culture, personify the combination of dance art (a traditional feature of social dances) and mastery (program preparation): art includes creativity, spontaneity, and self-expression, and mastery contributes to the creation of an aesthetic, artistic aspect, but without emphasis on personal creativity and self-expression.

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Виховна роль ансамблів малих форм у становленні співака-початківця

Author(s): Lyudmila Larikova / Language(s): Ukrainian Issue: 38/2020

The purpose of the article is to review the available literature on this issue; generalize the provisions presented in the found sources; analysis and systematization of these works. The methodology consists of the study and analysis of the vocal-pedagogical and musicological source base, comparison, and generalization of the problem, which allows the formulation of conclusions. The scientific novelty of the article is in the study of the aspect of ensemble singing, namely its educational influence on a beginning singer. The article offers the author’s view on the benefits of ensemble singing and formulates and substantiates its educational potential in the process of becoming both a professional musician and a harmoniously developed personality of the singer. Conclusions. In the process of analysis of existing works the educational impact of the beginning singer’s participation in ensembles of small forms was classified as one that becomes a catalyst of changes in the psychological sphere (intellect, creativity, imagination, memory, attention, etc.), personal-physiological (ability to work, will, purposefulness, physical qualities necessary for vocal creativity) and socio-cultural (singing culture, personality culture, enrichment of musical horizon, spiritual culture, ability to work in a team, feeling part of a team, respect for other team members, etc.). The advantages of ensemble singing in comparison with individual and choral singing are formulated. The educational role of ensembles of small forms on beginner singers is offered in two planes: general educational (this is about of formation of a number of personal and physiological features and qualities which, on the one hand, are directly connected with musical activity, and on the other, are factors of success of any other activity) and musical educational (those qualities that promote to the development of special musical abilities, form specific musical skills).

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Традиційні народні аерофони в контексті навчання в мистецьких школах

Author(s): Yaryna Tovkaylo / Language(s): Ukrainian Issue: 38/2020

The purpose of the article is to study considers the traditional pipe tools and methods of its introduction into the educational process of art schools, based on the historical experience of learning/imitation in terms of the authentic process in the tradition. Methodology. To achieve the goal of the research, historical-instrumental, ethnic-pedagogical, comparative, and ethnic-organophonic methods were used. The scientific novelty is that the article presents traditional folk wind aerophones (svystuntsi, okaryna, tylynka, pivtoradentsivka, dvodentsivka, frilka, floyara, rebro (flute Pana), Boyko`s pyshchavka, Polissya dudka-vykrutka and dudka-kolianka, truba, trembita) and the system of their step-by-step study in the pipe class. Conclusions. From the standpoint of our own many years of experience in pedagogical and concert-performance practice, conclusions are drawn about the tested approaches to implementation in the already established class of so-called. "Academic" pipes of a number of traditional wind instruments on the basis of an "additional instrument" using the well-known principles of ethnic-pedagogy and K. Orff's system. The introduction of this technique in the educational process of primary education will not only contribute to greater interest/motivation of young pipers who master the well-known system of so-called. D. Deminchuk's "academic" flute, but also serves as a solid methodological basis for the formation of the game and breathing apparatus for beginners of "academic" wind specializations. The training will be effective in a comprehensive approach to mastering traditional Ukrainian aerophones and creating conditions for learning/learning the game from the bearers of the pipe tradition and the opportunity to make at least introductory folklore expeditions to regions where the studied instruments and music still function.

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Особливості взаємозв`язку сербської та української баянних шкіл

Author(s): Katarina Nišič / Language(s): Ukrainian Issue: 38/2020

The purpose of the article of this article is to substantiation the peculiarities of the relationship of the education of Serbian accordionists and the specifics of the Ukrainian accordion school, as well as highlighting various aspects of training Serbian accordionists in music schools in Ukraine, features of training Serbian masters of an accordion in Ukraine, their participation in accordion skills competitions in Ukraine and abroad. Methodology. During the research, methods of analysis, synthesis, as well as a comparative method in the study of Ukrainian and Serbian accordion schools were used. Scientific Novelty. The methodical systems of classes used by Serbian teachers in teaching accordion playing technique are considered, including an individualized approach to determining the potential of each student at the initial stage of learning, taking into account the peculiarities of their psychological state, combining terms with the ability of music school students to speak publicly. There are differences in the teaching of accordion playing by graduates of Serbian and Ukrainian music schools. The latter are inclined to the principles of the Ukrainian teaching school, in particular, education of students' ability to work, ability to overcome difficulties, set tasks, and achieve their gradual implementation. Conclusions. The need to develop the relationship between the Serbian and Ukrainian schools of accordion art in the field of education was pointed out. Such conclusions were based on the fact that during the whole time of teaching Serbian students the skill of accordion playing in Ukraine there is a positive dynamic. Its detection is an increase in the number of students, the expansion of music specialties of domestic institutions of music education, and accordion training. Thus, the relationship between Ukrainian and Serbian education has a positive effect on the development of accordion art.

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Дигітальні технології сучасного сценічного мистецтва: семіотика освітлення

Author(s): Oleksandra Ilnitskya,Vitaly Ilnitsky / Language(s): Ukrainian Issue: 38/2020

The purpose of the article is to identify the features of integration and methods of using digital technologies in modern practices using the example of innovative methods of stage lighting. The methodology is based on the complex methods of modern art criticism and is aimed at reviewing and theoretical understanding of the main aspects of using digital lighting technologies in modern stage art. The method of cultural-historical analysis (for studying trends in stage lighting technologies), the semiotic method (for studying and analyzing the symbolic content of lighting as a significant part of the spatial stage text), the typological method (for systematizing innovative principles and methods of lighting), and the method of figurative-stylistic analysis of works of contemporary stage art (dramatic and choreographic productions, performative installations). Scientific novelty. The features of integrating digital technologies into stage productions of the beginning of the 21st century using the specifics of the use of lighting are studied; the significance of stage lighting in the process of revealing the semantic-meaningful and artistic-figurative aspects of stage action is revealed and characterized; The specifics of lighting were identified and analyzed using the contemporary representations of drama theaters (Per Gunt, Hungarian State Theater Cluj-Napoca, director D. Zinder, 2008), choreographic productions (Political Mother choreographer-composer H. Schechter, 2010 ..) and performative installations ("Stifters Dinge"); prospects for the use of modern digital technologies in the context of the leading trends in the development of stage art of the 21st century are outlined. Conclusions. The use of modern digital technologies in stage art helps to expand the artist's capabilities by increasing the variety of expressive means. The directors, rethinking the meaning of lighting, offer the viewer only directed towards the idea of stage work, using means that affect the psychological state of a person; They strive to awaken emotions, memories, and thoughts corresponding to their own creative vision, generating complex visual experiences coexisting with the presented text. At the present stage of the development of stage art, due to the integration of digital technologies and the development of innovative methods and techniques, it is advisable to consider lighting as a productive component of the stage production, the functions of which go beyond the obvious or prosaic levels at which light only generates a shadow or color, focus or space, creating atmospheric, architectural and physical elements.

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HOOKAH AND B&H YOUTH: TOWARDS A SUBCULTURE?

Author(s): Adisa Ahmetspahić,Damir Kahrić / Language(s): English Issue: 1/2021

The basic role of this paper is the representation of the new emerging subculture among the Bosnian youth population, and that is hookah bars. This paper presents some theoretical depictions of hookahs in popular culture, definitions of subcultural trends and the connections formulated between hookahs and subcultures, but this paper also relied on a descriptive research, a survey which analyzed the notion of whether or not hookah bars are the new subculture in Bosnia. The paper concludes that hookahs can be perceived as a phenomenon heading towards a subculture, as well as the idea that hookah bars remain a fashionable part of young people’s lives in Bosnia and Herzegovina.

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