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REMEMBERING FORSELF-PORTRAYAL. FROM POSTMODERN ABSENCE OF CANON TO GENRE AMBIVALENCE AND DECLINE

Author(s): Bogdan Aleksandrov / Language(s): English Issue: 1/2019

The phenomenon of self-portrayal resulting from accumulations and developments during the Italian Renaissance period is under discussion in this text through the optics of Postmodernity. Changes that have occurred with the progress of technique in mirror positioning - auxiliary equipment in self-portrayal – have led to a radical change in the ways of creating and perceiving of self-portrait. Conditionally transmitted in self-portrayal, the "Casimir Effect" helps to understand the notion of self-portrayal decline. Postmodern self-portrayal represents not only the creator but paradoxically it includes the viewer within itself too, in a more general sense, its potential audience as well in one with the events in which it is encompassed as a phenomenon.

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Авторски песни в народен дух от България и тяхното привилегироване чрез „меката власт“ на медиите

Author(s): Lozanka Peycheva / Language(s): Bulgarian Issue: 6/2019

Author's songs, written in folk spirit, have a rich tradition in Bulgaria and are persistently present in Bulgarian musical history and culture from the mid XIX century to this day. Circulated through media, they gain the status of privileged, popular and attractive specimens, which influence their audiences. The constructed popularity and attractiveness of these songs is a result of the soft power of media, which is dependent on political and socioeconomic context, as well as on the existence of goodwill and sympathy in the interpreters and audiences. At their peak, the most popular author's songs in folk spirit impact the forming of dominant values, tastes and attitudes in Bulgarian society

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Еволюція розвитку машинної вишивки та сучасних вишивальних автоматів

Author(s): Anastasia Vitaliyivna Varyvonchyk / Language(s): Ukrainian Issue: 4/2018

The research of the purpose is illumination of circumstances of origin and watching of historical evolutional unique Ukrainian artistic trade, known as embroidery, machine embroidery and modern embroidery automats. Research methodology is based on the use of supervisions study of art, historical, and kul'turologichnogo analysis. The scientific novelty consists in opening of facts about embroideries, which in subsequent assisted development of machine embroidery, and afterwards development of industry of embroidery production, with the origin of the embroidered wares due to modern embroidery automats. Analysing historical development of artistic industry which worked with making of the embroidered wares can do such conclusions, that from 80th of XX age on territory of Ukraine at times there were the embroidered wares which was executed on embroidery automats, more frequent these were the things of clothes, linen and others like that. This process of osuchasnennya and development of industry of productions of embroidery direction is ousted by things which was executed hands-embroideresses many years.

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Рецепція «perola barocca» (дивовижна перлина) в сучасному художньому просторі україни

Author(s): Tatyana Kostyantynivna Gumenyuk,Tetyana Oleksandrivna Krivosheya / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to consider contemporary Baroque receptions in Ukrainian artistic practices in the interconnection and intersection of cultures of different epochs. One of the options for such a connection of cultures is the reception. The methodology of the research consists of theoretical and interpretive models of analysis, the method of modeling the world-view characteristics of baroque sensuality in modern receptions (theoretical and cultural). The scientific novelty consists in the consideration of the project activity "Open Opera Ukraine" (performance "Didon and Aeneas" G. Purcell), in the disclosure of the relevance of baroque receptions in the modern process of growth. For the modern reconstruction of the composer's conception and baroque stage aesthetics, the authors of the project used the method of historically informed performance. The aesthetic-educational and ethical functions in this project are inseparable. The comprehension of a genius musical work, uniquely combined with the word about him, strengthens his essence as an amazing pearl - "perola barocca". Conclusions. The reception of the culture of the "golden aura" of the great epochs (Baroque) contributes to the restoration of cultural identity, warns against multicultural fragmentation, creates conditions for the establishment of links between cultural epochs. Art is a definite space in the holistic field of culture. Some of its species interact with the sociocultural environment. As a holistic system, they are historically volatile, evolving under the influence of various cultural and historical factors. The development and dissemination of modern information technologies not only brings to life new kinds and genres of art but also directly influences the process of creation and implementation of works of art, the nature of their perception by a wide audience. Awareness of the fact that modern man loses integrity, the traditional forms of art are destroyed and encourages us to turn to the baroque culture. Baroque aesthetics reminiscently turns into one of the main markers of mass culture.

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National Traditions: Specificity and Prerogative of the Formation in the Art of the Artistic Image of the Fashion Industry of the XXI Century

Author(s): Alla Anatoliyivna Gotsaliuk / Language(s): English Issue: 1/2019

The purpose of the article is to determine the features of the inclusion of elements of national traditions in the formation of the artistic image of the fashion industry of the XXI century. Methodology. The research methodology consists of the application of dialectic, analytical methods in order to study the specifics and prerogatives of the formation of an artistic, fashionable image in the modern period, the determination of the factors that influence them; functional and instrumental - to differentiate the role and importance of the formation of a fashionable image in modern culture; comparative - to determine the content of the concepts ―fashion, ―fashionable image through the prism of turning to national traditions in the world outlook and axiological aspects. The scientific novelty lies in the fact that for the first time the influence of national cultures on the formation of the artistic image of the fashion industry of the XXI century has been studied. Conclusions. The study concluded that the fashionable artistic image is not just the artist‘s thinking process but also the final stage of the vision and perception of the world. The research is a form of reflection of the surrounding reality, which is created with the help of various fashion trends in the process of activity of representatives of the fashion industry. It has been established that a fashionable image is a unique vision of the ideal of beauty and an idea of the single character of the reproduction of appearance at a particular historical stage. It was determined that the peculiarities of appeal to national traditions in the art of the artistic image of the fashion industry of the XXI century include: 1) the national tradition remains one of the most productive sources in creating new forms, original compositions, coloristically decorative fashionable images of the modern Ukrainian; 2) the powerful influence of economic factors on the activities in the fashion industry; 3) the enrichment of elements of national traditions with new solutions with the help of modern technical and technological tools, arsenal, techniques and the acquisition of new artistic dimensions by them, most noticeably this is manifested in the modeling of clothes and interior design; 4) the influence of the historical period, social, economic, political components on the formation of the volume of the need to appeal to the elements of national traditions in the fashion industry.

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The Activity of the Ukrainian Theatre in Peremyshl During the Nazi Occupation (1941–1944)

Author(s): Vasyl Ivanovich Ilnytskyi,Mykola Dmitrovich Haliv / Language(s): English Issue: 1/2019

The purpose of the research is to discover the organizational-administrative and creative-artistic aspects of the activity of the Ukrainian Theatre in Peremyshl in the years of the Hitlerite‘s occupation of the town. The research methodology is based on the principles of historicism, system-formation, scientific character, verification, the author‘s objectivity, moderated narrative constructivism, and the use of general scientific (analysis, synthesis, generalization) and specially-historical (historical-genetic, historical-typological, historical-systemic, etc.) methods. The scientific novelty of the article consists in the argumentation of the fact, that, for the first time, in the historiography of the Ukrainian theatrical art on the basis of the previously unknown archival documents, the genesis, organizational development, repertoire, administration, and actors‘ staff of the Ukrainian Theatre in Peremyshl in the years of its occupation by the Hitlerites are clarified. Conclusions. Summing up, the fact is that the historical genesis of the Ukrainian Theatre in Peremyshl was connected with the activity of "Lesia Ukraіnka theatrical society" (1925–1939) and the Soviet State regional drama theatre (1940–1941). The history of the Ukrainian Theatre in Peremyshl can be divided into three stages: 1) the stage of the formation of the theatre in a form of the Theatrical circle and Drama section of UAC (1942 – first half of 1943), 2) the stage of the theatre‘s reorganization into a professional establishment (August-October, 1943), 3) the stage of the theatre‘s vigorous activity on professional bases (November of 1943 – July of 1944). The Ukrainian Theatre‘s artistic experience was manifested by several dozens of first-night performances and almost one hundred of other productions in Peremyshl and the neighboring villages and towns.

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Культурна особистість: концептуальні ідеї П. Шафера

Author(s): Halyna Shevchenko,Tetyana Leonardivna Antonenko,Milena Vyacheslavovna Bezuhla / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is to carry out a comprehensive analysis and to disclose scientific approaches and leading conceptual ideas of the modern Canadian culturologist Paul Schafer about the role of culture and art, which provides for a high level of development of the cultural personality. The methodology of the research is based on the axiological approach, which makes it possible to select the priority of the system of cultural, aesthetic, and artistic values that humanize, cultivate, and spiritualize a personpersonality. Scientific novelty of the research is that for the first time in Ukraine the holistic scientific views of the modern Canadian culturologist D. Paul Schafer on the characteristics of the cultural personality in the period of the Age of Culture, as well as the role and importance of the art in the cultural process of mankind, have been analyzed. [P. Schafer‘s monographs "The Age of Culture" and "The Cultural Personality" have been translated from English by the scientists of the Scientific Research Institute of Spiritual Development of Man and the lecturers of the Department of Foreign Languages and Professional Communication, Volodymyr Dahl East Ukrainian National University]. Conclusions. The article deals with P. Schafer‘s main conceptual ideas on cultural personality development: the cultural personality is a necessary condition for the Age of Culture development; the art and arts education are the foundations for life of the cultural personality; the cultural personality presupposes existence of the cultural worldview that must stand above the economic worldview; the four main contexts of the research of culture as a "complex whole" are characterized (artistic, social, anthropological, ideological); the cultural personality is holistic, centered, authentic, unique, creative, altruistic, and humane; the priorities of the Age of Culture are defined; the culture is the key to the development of spirituality of a personality.

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“Folk Codes” in the Musical Material of Modern Ballets

Author(s): Olena Stalyevna Afonina / Language(s): English Issue: 1/2019

The purpose of the article is to highlight the folklore codes in the musical material of modern ballets. Methodology is based on the use of benchmarking methods; generalizations for the conceptualization and expansion of the meaning of "folklore codes" in modern ballets. The scientific novelty of the work consists in the actualization of folklore codes in E. Stankovic's ballet music and the content of modern ballets R. Poklitaru, M. Schroeder. Conclusions. Based on the analysis of modern ballets, folklore codes, which are contained in the title and libretto of the works and musical material, are revealed. In the musical material, composers refer to quotations of folk intonations and their transformations, which are more reminiscent of allusions or reminiscences of folklore material. First, the names of the works suggest recipients to the perception of images, which are revealed by folklore codes as information historically established. For authors, the use of folk material becomes the process of identifying additional meanings of known codes. The use of "folklore codes" in the symbolic art of dance includes hidden components of the sign system – movements, costumes, stage design, which helps the viewer to plunge into the world of allusions and fairy tales, revealing the contents of the works.

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Культура Франції на зламі ХІХ і ХХ століть у формуванні концепції фортепіанних концертів К. Сен-Санса

Author(s): Dariia Volodymyrivna Androsova / Language(s): Ukrainian Issue: 1/2019

The purpose of the article is a realization of naturalness to lyrical concept of a piano concerto in French culture end XIX - begin XX century, presented piano Concerto of C.Saint-Saѐns, actual intonation which is determined "nеоsymbolism" (on E.Markova) of post-vanguard last decennial event. 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. Scientific novelty of the work is determined that that for the first time in musicology of Ukraine matches up the intonation formation is proto-symbolism, symbolism and nеоsymbolism begin XXI centuries in concreteness of the interpretation of the genre of the concerto in creative activity of C.Saint-Saѐns, is for the first time presented naturalness of relationship to аdrаmаtic trend of the thinking Saint-Saѐns with proreligious tone of the culture of the symbolism and his manifestations in nеоsymbolism of contemporaneity. Conclusions. Works of C.Saint-Saѐns forms style-semantic parallel to the manifestation of the concert genre besides Russian, Ukrainian composer, for which typology of the concerto also excluded the tragedian-dramatic filling, was directed to ecstatic-glad "ringing of bells" of the play-off, culling from climate of confidence to religious ecstatic quality, confirmed by symbolism. Beside Saint-Saѐns independent sense filling get invoiced acceptance, forming strictly thematic factors, leading to concepts of "distracted themes" XX ct. Quality of playing unity art-reality in post-modern, in post-posvanguard is carried out in pathos presenting "life validity" in unity with strictly artistic text. According, in performance repertoire, has got the special confession a music concert-natty, which correlate with joy-cоmpеnsаtion tone recreational – and spiritual art, capacious presented concert type of the music C.Saint-Saѐns.

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Герменевтичний зріз музичної культурної соціології

Author(s): Elena Mykolayivna Markova / Language(s): Ukrainian Issue: 1/2019

The purpose of the article given studies is a trailing of profound relationship to the leading notion of art studies and philosophic- religious sense mortgaged in numerology and other symbology of genre-technique indications of the music. Methodology of the study emerges the hermeneutic accumulation in the work of A.Losev, E. Wilson-Dickson, in musicology - a developments B.Asafiev, B.Yarustovskiy and others. The hermeneutic cut of art-studies analysis, with a handhold on historian-stylistic, sоcio-culturology principles in comparison of semantic position to epochal filling forms the concreteness of the applying methods of the cognition of the brought forth theme of the study. Scientific novelty of the work is defined by originality to ideas of the collation of value philosophical-religious generalizations, in tradition A.Losev and B.Asafiev, and factors of the form in artistic buildings. Is it for the first time attention to semantic parallels of the beliefs about epochal change the form from the Middle ages before New time - in development position to music sociology, as they are declared in work A.Lunacharskiy, T.Adorno, B.Asaiev, L.Mazel, and other prominent researchers of art, leaving on the hermeneutic factors of the incidence of the sense artistic-formal quality of the expression. Conclusions. The total of the offered review is, first, understanding that that music contents and sense concentrated in the symbology of the music forms - as invoiced wholeness which presents the unity of the expressive facilities in general, and as structured concreteness of the forms-schemes to compositions. The semantic essence and the first, and the second related religious, philosophical ideas, given birth history condition, which become nourishing headwaters and for epochal determined music buildings that are to say obviously their genetic alliance. Secondly, music sociology, as one of leading discipline to hierarchies forming in culturology of musics, contains hermeneutic component, which forms the foundation of the music semiotics, music semioties, music hermeneuties as such as a whole, jointly teachings about music contentrichness and music image, which were in the highlight classical musicology past two centuries.

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Вокальна культура викладачів музичного мистецтва: інтеграція досвіду Китаю та України

Author(s): Limin Wei / Language(s): Ukrainian Issue: 1/2019

The purpose of the study is to provide theoretical substantiation of the methods of forming the vocal culture of future teachers of musical art, taking into account Ukrainian and Chinese traditions. Research methodology. To achieve the purpose of the research, a set of theoretical and empirical methods is used: analysis of philosophical, pedagogical, methodological and art studies, normative documents, as well as practical experience of teachers of higher musical pedagogical institutions in order to determine the level of theoretical and practical solving of research intelligence problems. The scientific novelty of the article is that for the first time the essence and methods of forming the vocal culture of the teacher of musical art have been analyzed on the basis of integration of traditions and creative practices of China and Ukraine. Conclusions. Mutually enriching the cultural ties of different peoples of the world makes it possible to develop the art of singing more effectively, which is its ability to ensure the harmony of intellectual, emotional development of the individual; to promote improvement of all its essential forces, qualities and various abilities, processes of thinking and creative activity, growth of internal potential; to develop her cognitive and creative activity, emotional sensitivity, aesthetic needs and tastes; to stimulate the aspiration for self-perfection. Vocal culture is based on the best unique traditions of national performing skill, the mastery of which allows it to transfer it to the conditions of singing students' training and laying the foundations of their vocal culture. One of the most important criteria for the formation of vocal culture is determined by the degree of formation of a positive emotional and motivational attitude towards singing and the degree of the formation of professional knowledge and the ability to operate vocal techniques (artistic erudition, knowledge of cultural and vocal, in particular, national traditions).

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Globalization Culture Processes in Vocal Art

Author(s): Tetiana Borisivna Kablova / Language(s): English Issue: 1/2019

The purpose of the work. The research is related to the study of modern globalization processes, which receive their embodiment at different levels of human existence. The article deals with the concept of vocal art in the context of modern cultural space. The research emphasises on vocal as a typical component of Ukrainian mentality, which reflects all historical, social and cultural changes of being. The work analyzes importance of vocal art in the musical-historical process as well. The methodology of work consists in the use of comparative, historical and logical methods, a hypothetical and deductive method, which suggest the consideration of vocal art as a gloсal phenomenon in the globalization processes of culture. This methodological approach contributes to the analysis and formation of the phenomenon of vocal art in the cultural space of creative processes, which helps to determine its place and role in the system of existing artistic forms. Scientific novelty lies in the positioning of vocal art as a gloсal sphere of existence and the transfer of values and norms of culture to determine the level of culture of mankind and the artistic space, where there are embodied the peculiarities of the functioning of the social sphere, which carries a weighty socio-psychological and educational potential. For the first time, vocal art as the creativity and activity of mankind receives coverage in scientific work as an embodiment of the gloсal conservation of culture in the globalization process. Conclusions. Understanding vocal art as a process of producing the spiritual culture of a nation raises up the importance of communication between the past, the present and the future. Musical reflection on the processes of globalization in the field of vocal art today reaches the level, where Ukrainian art proceeds to a qualitatively new level of existence, based on the dominant system of value orientations of the Ukrainian tradition and their reincarnation in the modern context of the era. Meanwhile it is preserving the immanent folk ties and contributing to the preservation of the Ukrainian national mentality in the global context,

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Жіночі персонажі опер М. Мусоргського і М. Римського-Корсакова в контексті православної антропології

Author(s): Tatyana Kaplun / Language(s): Ukrainian Issue: 1/2019

Purpose of the article. The article is devoted to the disclosure of the features of the embodiment of the leading female images in the operatic works of M. Mussorgsky and N. Rimsky-Korsakov, which are revealed in the context of Orthodox anthropology and are related to the problem embodiment of spiritual evolution and involution in Russian music of the second half of the XIX century. The methodology of the study is to apply comparative, historical-cultural, musical-semantic methods, intonation concept of music in the light of the theory of B. Asafiev and his followers. This methodological approach allows us to reveal and analyze the psychological qualities of the main opera heroines of the operas «Khovanshchina» and «Tsar's Bride», recorded in their vocal part in a comparative description. The scientific novelty of the research consists in revealing the spiritual path of the heroines of the operatic compositions of Russian composers in a comparative description of the moral choice of Marfa and Lyubasha in their evolutionary/involuntary movement, which was reflected in the vocal party of the vivid female characters of the Russian opera tradition of the second half of the XIX century. Conclusions. The specific character of the musical embodiment of this moral choice of opera heroines is revealed at the level of the characteristic of the harmonic, intonational-rhythmic side of the vocal parts of Marfa (Khovanshchina) and Lyubasha (Tsar's Bride).

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Корпоративна культура як вагомий чинник професійної підготовки телеведучих

Author(s): Olena Mykolayivna Kosinova / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to reveal the essence of the process of the introduction of corporate culture in the system of the aesthetic orientation of professional training of TV presenters. The methodology involves a comprehensive approach with the use of analytical, systematic, and comparative methods, which makes it clear that the ideal of art education needs a meaningful content, creating optimal conditions for corporate culture in the system of aesthetic life of students of higher education and arts. The scientific novelty of the work lies in updating the concept of corporate culture in the context and in connection with the formation of professional training of broadcasters. Conclusions. As a result of the conducted research, it is established that in the conditions of creative higher education the implementation of the aesthetic orientation of students' professional training is carried out by forming the personality of the artist with harmoniously combined professional, moral and aesthetic, psychological qualities and is provided with purposeful educational activities. The most important aesthetic qualities in the process of forming the corporate component of aesthetic training of future TV presenters are the following: respect for the history, culture, dignity, ethical ideals of each people; interest in the national language, customs, traditions, as well as feelings of mutual tolerance and delicacy as to the national "other" mentality, spiritual values, and carriers of another culture and opinions that do not coincide with one's own.

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Діалогічні виміри творчості В. Івасюка у контексті соціокультурного розвитку України другої половини ХХ століття

Author(s): Anna Viktorivna Paliychuk,Larisa Ivanivna Chavus / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to analyze the main features of the artistic personality of V. Ivasyuk and note the dialogical indicators of the creativity of an outstanding representative of the Ukrainian musical culture of the twentieth century. The methodology is based on a combination of historical and biographical approaches in line with the culturological method, involving the theory of dialogue in the general aesthetic and concrete art directions. All relevant approaches are involved in a comprehensive study of the dialogical characteristics of V. Ivasyuk‘s creative heritage in the context of the processes of forming the cultural space of musical Ukraine by the end of the 20th century. The scientific novelty of the study lies in the fact that for the first time the dialogical aspects of the creative heritage and life of V. Ivasyuk were determined in the context of the cultural and historical factors of the development of Ukraine in the second half of the twentieth century. Conclusions. The author‘s lyrics of V. Ivasyuk, which is divided into poetic and musicalintonational ranks and levels, can be considered, ordered, in a certain way, differentiated and structured, respectively, with the cordocentric paradigm of Ukrainian sociocultural consciousness. Accordingly, the songwriting of V. Ivasyuk can be considered as a technological art phenomenon based on the culturological concept of cordocentrism - the most generalized archetype of Ukrainian national consciousness. The creativity of V. Ivasyuk represents his own author‘s method of musical and poetic cultural and stylistic synthesis, which allows combining system genre features of professional musical creativity, creation of a pop song lyrics. Not only the peculiarities of professional formation but also the general creative attitude, personal, semantic intentions prompted V. Ivasyuk to choose a mass song as the leading sphere of artistic self-realization. That made it possible to feel and convey in the creativity a deep involvement in the Ukrainian ethnos, and the single image of this ethnos is reproduced in a conditional meta-historical art space. Historical time is a constant basis of human activity, and the subject of dialogue is always the subject of history - only at its different levels, depending on the significance of the dialogue. V. Ivasyuk offers a special positive way of artistic communication, which is opposed to ordinary life prototypes, which endows them real noetic, highly understandable characteristics. Consequently, it becomes possible to attribute the category of ―language of culture‖ to the creative heritage of an outstanding artist as one that allows to: first, highlight the main directions and substantive content of human relationships; secondly, it corresponds to the ideas of modern man in the most appropriate context; thirdly, it has a sufficient degree of universality, the ability to become just a dialogue language, quite independent of temporary accidents and fluctuations.

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Когнітивні інновації культури як ризик посткультурної стагнації

Author(s): Marуna Oleksandrivna Protas / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to study lasting since the last century and penetrating even into the educational systems of universities crisis processes of the global post culture and to determine the dangers of those culture-industrial intentions of modernizing the artistic consciousness, where creative personalities are turned into servile nomenclature of the culture industry‘s market strategies. Methodology: structural and typological analysis of cultural phenomena, common in the humanities since the 1970s, has been synthesized with the poly-systemic trans-disciplinary ―world-system analysis‖ method introduced by Immanuel Wallerstein. The scientific novelty: avoiding the traps of the reified logic of postmodernism, the author discusses the alarming situation in culture and art as a consequence of global cultural inversion provoked by humanity‘s technical and technological breakthrough, which led to the denial of traditional spiritual values and their replacement by rational concepts. Relying on a significant corpus of criticism of the phenomena of post culture by Western and domestic analysts, the author proves the fallacy of the failure of modern humanitarian theories and practices to incorporate the traditions of the aesthetic experience of the past, which is cultivated by current contemporary innovations on a planetary scale. Conclusions. To overcome the global cultural and art crisis, it is necessary to have a critical attitude towards the strategies of desacralized logomachy that suffers from information fever because information is not a condition of aesthetic experience, and imitating technological reasoning destroys creative intentions. Therefore, the majority of contemporary art projects, being interesting manifestations of social, political and economic problems of society, are not related to еру transcendentally aesthetic sphere of art.

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Народно-сценічний танець Тернопільщини в хореографічній культурі України радянського періоду

Author(s): Andrii Igorovich Pidlypskyi / Language(s): Ukrainian Issue: 3/2019

Purpose of the article is to identify the main directions of the development of the folk stage choreographic art of the Ternopil region in Soviet times. Methodology. A set of methods has been applied, including analysis of the literary and source base, systematization of facts according to the chronological principle, analysis of the holistic system of choreographic art as a trinity of amateur and professional art, as well as the educational process for the training of choreographers. Scientific novelty. For the first time, the development of folk stage choreography of the Ternopil region of the Soviet period through the prism of national trends was comprehensively meaningful. Conclusions. The main vectors of the development of folk scenic choreographic culture in the Ternopil region of 1945–1991 are identified that correlate with national trends, the main of which are the creation, with state support, of a wide network of amateur dance groups of folk stage dance (Chaika, Chortkiv; Veselka, Pochaiv; Prolisok, Pidvolochysk etc.), the opening of choreographic education institutions with the aim of training personnel for amateur performances and professional dance groups (Terebovlyanska Cultural and Educational School), the creation of professional ensembles of folk stage dance ("Nadzbruchanka", Ternopil). The system of amateur performances and professional folklore stage art has become a means of ideological education within the country and the propaganda of Soviet achievements beyond its borders. At the same time, there were positive trends in the popularization of scenic forms of folk dance, and in some cases, the conservation of certain lexico-compositional structures that were lost in the folklore environment.

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Використання народнопісенних інтонацій у хоровій творчості закарпатських композиторів у контексті полікультурного розвитку краю

Author(s): Olesya Myroslavivna Glukhanych / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to reproduce a complete picture of the development of choral art in Transcarpathia through the prism of using folk-written intonations. The methodology consists of studies on the history of the world culture of the twentieth century, studies of creativity of Transcarpathian composers, theoretical works, articles, and materials. Research methodology involves the use of methods of historical and theoretical musicology, systematic and analytical methods, as well as methods of comparison, analysis, and synthesis, which helped to formulate conclusions. The scientific novelty of the article is to study the multicultural phenomenon of the choral creativity of Transcarpathian composers. A comparative analysis of the peculiarities of the use of folk-written intonations in the choral works of Transcarpathian composers has been carried out for the first time. Conclusions: the folk song was crucial for forming the creative style of the composers, the approach to the use and processing of folklore material in the creativity of the composers of Transcarpathia was significantly different.

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Ікона як один із традиційних елементів українського інтер‘єру

Author(s): Alexander Petrovich Tsugorka / Language(s): Ukrainian Issue: 3/2019

Purpose of Article To characterize the main features and peculiarities of the icons as one of the main elements of the Ukrainian interior. The methodological basis of the research is a comparative-historical approach for determining the degree of influence of state-building processes on the formation of cultural-historical, artistic and aesthetic laws of the formation and development of the Ukrainian interior and the concrete-inductive method that determines the philosophical perception of icons and the forms of its interpretation. The scientific novelty consists in identifying certain features of the influence of the icon on the formation of a modern Ukrainian interior as one of the main aesthetic and cultural elements of the design of a home, a workplace, etc., which, in their unity, are called to create and organize a holistic, harmonious, comfortable, animated compositional space. Conclusions. The research reveals the role of the icon as one of the main traditional elements of the Ukrainian interior as the only spiritual and sacred phenomenon in the cultural and religious life of the Ukrainian people. The icon in the Ukrainian interior is part of an indivisible whole, which determines the interaction of the human world and the world of images, destroys the distance between them. The icon in the interior in a certain way abolishes a clear line between the real and transcendental worlds, forms the space in which the person is, influencing his imagination. Consequently, during the perception of the icon in the Ukrainian interior, a dense communicative connection is established in a home or a workplace: a person (believer or not) - a work of art - a prototype.

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Розвиток бандурного виконавства діаспори в контексті міжкультурних взаємодій

Author(s): Natalia Anatoliyivna Chabanenko / Language(s): Ukrainian Issue: 3/2019

The purpose of the article is to thoroughly analyze the phenomenon of bandura performance on the territory of the Ukrainian diaspora in the context of intercultural interactions. The methodology is to apply the general scientific principle of objectivity, historical, logical, analytical, comparative and cultural methods in the study of the factors that led to the development of bandura art in Ukraine and the diaspora, which contributed to the genesis of bandura performance in modern conditions of intercultural ties and polystylistic in culture and the arts, determined by the characteristics of the refraction angle within national cultures of the global and national-specific. The scientific novelty of the work lies in the complex analysis and disclosure of the features of the bandura performance, which contributed to the formation of both the classical repertoire of bandura and modern trends related to world musical trends, which is most striking in the bandura art of Ukrainians of the diaspora. In turn, such modifications increase the level of performing skills, forming bandura art in a different-ethnic environment as a complete artistic and aesthetic phenomenon of Ukrainian musical culture. Conclusions. The development of the musical culture of the Ukrainian diaspora of the twentieth century. was one of the important factors in preserving the ethnic identity of Ukrainians and is now an integral part of Ukrainian national music culture, an important factor in the preservation and development of its individual genres, creative trends and more. Bandura performance, emerging from cultural and educational centers, has developed into a powerful layer of amateur and professional music. The Ukrainian diaspora has done a great deal to preserve and develop both the national culture and the world in particular. The high level of political and cultural activity of the Ukrainian community in the Western world, the worldwide recognition of the uniqueness of the national culture of Ukrainians, in particular the bandura performance, based on the authentic folklore of the Ukrainian people, give reason to speak about the high level of entry of Ukrainian musical culture into the world cultural process. In today's life, bandura art as a whole phenomenon becomes important in the cultural and spiritual revival of the country, preservation of the invaluable heritage of the Ukrainian people, its cultural identity both domestically and abroad.

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