UKRAINIAN CULTURE: THE PAST, MODERN WAYS OF DEVELOPMENT Scientific journals Branch: Branch

SCIENTIFIC AND RESEARCH ACTIVITIES IN WAR CONDITIONS : TO THE RESULTS OF THE 20TH INTERNATIONAL SCIENTIFIC AND PRACTICAL CONFERENCE «European Integration Processes in Modern Ukraine in Time of War: Educational and Cultural and Artistic Dimension» Instead

Serhii Vytkalov, Volodumur Vytkalov — Sun, 22 Dec 2024 20:23:40 +0200

The thematic series of the next edition of the professional scientific and metric collection «Ukrainian culture: past, present, development paths» is analyzed; the leading directions of scientific research of its authors are emphasized; emphasis is placed on expanded research topics, taking into account the use of the source base; the intensification of scientific research due to the state of war and the social activity of its authors is emphasized.

TRIPILLIAN WIND INSTRUMENTS OF THE ENEOLITHIC ERA: VARIETIES AND CEREMONIAL AND RITUAL FUNCTIONS

Olga Oliynyk — Sun, 22 Dec 2024 00:00:00 +0200

The purpose of the article – is to introduce unknown archaeological artifacts and iconographic sources into the international scientific circulation, as well as to carry out an instrumental analysis of the morphology of Tripillian wind instruments according to the international classification musical instruments by Hornbostel – Sachs and to determine their functions in ceremonial and ritual practices.

Research methodology. The paper uses combined archaeological and organological research methods.

Results. Five varieties of Trypillian wind instruments were distinguished based on the instrumental analysis of morphology. Vessel-flutes without finger holes (421.221.41) made from the phalanges of a bull existed at the early stage of the development of the Trypillian civilization (4700-4600 BC, stage A). According to the principle of pars pro toto, these instruments embodied the image of the bull in magical rites as a symbol of power and male initiation. At the end of the middle and the beginning of the late stages (3600–3200 BC, stage BII–CI), another type of them appears – vessel flutes (ocarinas) with fingerholes (421.221.42), which were made of clay in the shape of birds and were associated with spring agricultural rites. Among the musical instruments of the Trypilians in the middle and late stages, there were also longitudinal open overtone flutes of two varieties – without fingerholes (421.111.11) and with fingerholes (421.111.12). A similar flute is depicted on the amphora in the hands of one of the female dancers performing a ritual dance. The scenes depicted on the amphora embody the rites of the spring-summer cycle. The study of Trypillian sacred symbolism made it possible to identify the objects held in the hands of two male figures. This is an image of natural wooden trumpets without mouthpiece (423.121.11) and on the basis of traditional analogues reconstruct the technology of their production. The drawn strokes on the hands of the figurines, wands and musical instruments make it possible to identify these anthropomorphic figurines as the embodiment of the image of the Serpent, which was closely associated with the cult of the Mother Goddess, the Progenitor.

Novelty. The study of wind instruments of the Trypillian civilization and their significance in the spiritual culture has not yet become the subject of an instrumental study. Information about the finds of wind instruments is contained exclusively in the publications of archaeological excavations, therefore they remain unknown to musicologists.

The practical significance. The paper materials can be used in research on the musical and instrumental culture of the ancient peoples of the world.

MEDIEVAL ARCHAEOLOGICAL MUSICAL INSTRUMENTS FROM THE TERRITORY OF UKRAINE

Iryna Zinkiv — Sun, 22 Dec 2024 00:00:00 +0200

The purpose of the article is to bring into scientific circulation new musical, archeological and iconographic artifacts accumulated today for their presentation in Ukrainian and foreign historical instrumental studies, as well as to show the varieties and ethnic identity of percussion, wind and string instruments of those ethnic groups that have lived for almost 1000 years on the territory of Ukraine.
Research methodology. The paper uses combined archaeological and organological research methods.
Results. The reconstruction of the musical instruments of Ancient Ukraine (VI-XIV centuries) is closely related to the migration processes of medieval Europe and Asia. The most thoroughly studied medieval noise percussion instruments are egg-shaped ceramic idiophones (112.1). 2. A peculiar ceramic idiophone of the XI century from the historical city of Voyin’ its shape resembles the pommel of a mace. Metal rattles (112.1) come from the Volyntsev archaeological culture (VII–VIII c.), from the settlements of Listvyn, Pohorynnia (present-day Rivne region, XI–XIII c.), Zvenigorod (Lviv region, XII–XIII c.), and burials of Alan nomads of the Saltov-Mayaki culture (present-day Kharkiv region,VII–VIII c.). 3 Hanging bells with internal strikers (111.242.122) are represented by iron botalas («shepherd bells»), which are known among the artifacts of the Slavic (Listvyn, Hryhorivka village – X–XIII centuries)
and the nomadic Alan world (VIII– X c.). The earliest botalas of the Saltiv-Mayaki (Alanian) culture are dated to the VIII–IX centuries. A large botala of horse equipment was found in the burial of a rich Alan warrior. In Ukraine, the oldest iron botalas are known from the first half of the ІІІ c. (Chernyakhiv archaeological culture), in Northern Europe – from the V century. They were used as signaling and ritual instruments. 4. The earliest Slavic bells are found in the Pen’kiv archaeological culture (VI–VII c.), which belonged to the Ants. Bronze bells were made on the territory of medieval Ukraine. The oldest one was found in the sity of Voyin’ (first half of the XI c.). 5. There are several types of medieval wind instruments. These are bone open overtone flutes of two varieties: 1) without side holes (421.111.11) and 2) with holes (421.111.12). They date back to the ІХ–ХІІІ centuries. A separate variety of whistle flutes are open flutes with several side holes (421.221.12). 6. The ceramic whistle found near the Pechersk Monastery in Kyiv (ХІ c.) is unique, which still has no analogues among Slavic ceramic aerophones. An ocarina (ХIV c.) comes from the Lutsk castle, which is not covered with glaze and has an archaic appearance. 7. In medieval Ukraine there were еnd-blown straight trumpets (423.121.1). Their images are known from paintings on the fresco "Musicians" by Sophia of Kyiv (ХІ с.), from miniatures of the Kyiv Chronicle (ХІІ с.) and Kyiv Psalter (XIV c.). I prove that these trumpets had bone mouthpieces. 8. Lyre-shaped psaltery /gusli/ (XII c.) were found in the historical Zvenygorod, a replica of which was made by the reconstructor artist V. Ilkiv. The nomadic world of medieval Ukraine is represented by a Polovtsian (Сumans) bowed chordophone of the XIII c., found near the village of Kirov (Kherson region). Thіs chordophone is also depicted on a Polovtsian idol found on the Chongar peninsula in the Kherson region.
Novelty. The research materials include archaeological finds of musical instruments of those ethnic groups that in the VII–XIV centuries lived in various settled and nomadic ethnic environments of medieval Ukraine. All musical instruments were analyzes according to the Hornbostel-Sachs classification.
The practical significance. The paper materials can be used in research on the medieval musical and instrumental culture of the peoples of Euroре and Аsia.

ТРАНСФОРМАЦІЙНІ ПРОЦЕСИ ЖІНОЧОГО МИСТЕЦТВА ЕЛІЗАБЕТТИ СІРАНІ У РАННЬОМОДЕРНІЙ КУЛЬТУРІ БОЛОНЬЇ

Olena Goncharova — Sun, 22 Dec 2024 00:00:00 +0200

On the basis of the anthropocentric approach to the analysis of visual self-presentations of a female artist of the early modern period of Bologna culture in the first half of the 17 th century, to fill in the opportunities that exist in domestic cultural studies and museology regarding the transformational processes of female creativity by Elisabetta Sirani. When writing the article, the principles and methods of philosophical and anthropological research were used in combination with biographical, historical and comparative, chronological, iconographic and figurative-stylistic methods. The scientific novelty lies in the author's methodology for analyzing works of visual (fine) art from the point of view of an anthropocentric approach, as well as in considering the creativity of a female artist of the early modern period of Bologna culture as her self-objectifications, identifying the genesis and iconography of her artistic creativity, which generates a new cultural reality. It has been established that the transformational processes of Elisabetta Sirani's female art in diachronic development can be considered as her self-objectification and a phenomenon of early modern Bologna culture. The results of the study not only provide information about stereotypes of society, the specifics of early modern Bologna culture, but also provide an outlet for the artist's «author's personality». The author of the article refutes the widespread stereotype about the secondary nature of art created by women. It has been found that it was easier for an artist's daughter to gain professional and social status in her father's studio, a nun in a monastery, or a noblewoman who gained clientele thanks to her father's connections at the court of the king or the Pope. At home, a woman was allowed to take drawing and painting lessons, to engage in carving, but when this became her profession, she needed marketing, commercialization of her art, looking for customers and patrons among the nobility, overcoming their skepticism and receiving less money than male artists. The works of the Italian artist embodied the paradigm of her cultural and artistic practice, associated with religious, biblical, historical, mythological, allegorical themes.
Elisabetta Sirani headed her father's art studio, founded an art school for girls, and became a professor at the Academy of St.
Luca in Rome. Thus, Elisabetta Sirani's social and professional status rose and approached the social position of the humanistic intelligentsia rather than the status of an artisan. Against the backdrop of the transformational processes of early modern culture in Bologna, this phenomenon can be considered an indicator of paradigmatic changes in public consciousness
in relation to the social significance of a gifted female artist.

M. ANTONOWYCZ’S ARCHIVE AS THE CULTURAL MEMORY : BIOGRAPHICAL AND CREATIVE PROFILE OF THE COMPOSER IVAN VOVK

Uliana Hrab — Sun, 22 Dec 2024 00:00:00 +0200

Archive of Myroslaw Antonowycz, a famous Ukrainian musicologist and conductor, in particular, music Ukrainian studies of the archive, is being studied in the article and the presence of music rarities in the archive, in particular, autographs of works by N. Nyzhankivskyi, M. Fomenko, including materials highlighting a little-known figure of Ivan Vovk, a Ukrainian composer in exile, are being ascertained. Therefore, the purpose of the article is to create a biographical and creative profile of the Ukrainian composer Ivan Vovk on the basis of M. Antonowycz’s archive.
Presentation of the main material. The name of Ivan Vovk (1921-2007) stands among the little-known Ukrainian composers, representatives of the Ukrainian artistic emigration. During the World War II, he found himself in France, and since then his life path has been connected with emigration: at first, in Europe, later, in the USA and Brazil. The epistolary of Myroslaw Antonowycz, a well-known Ukrainian musicologist and conductor, gives us a broader idea of Vovk as a person, circumstances of his life and creative work; information about Ivan Vovk is found in his correspondence with a musicologist Pavlo Matsenko.
Information about the composer I. Vovk is being analyzed in printed sources and M. Antonowycz’s epistolary, information about I. Vovk’s creative heritage, i.e. chamber-vocal, chamber-instrumental, works of various genres in violin and piano music, is being systematized. The composer’s activities are also highlighted in musical and social life of the Ukrainian diaspora in the USA.
Conclusions. The study of M. Antonowycz’s archive reveals a lot of valuable biographical information about the composer Ivan Vovk, in whose works the classical European school and national spirit are organically combined.
Original creative profile of the composer, whose musical language reflects romantic attitude with distinct national intonational core, is being asserted. His creative works have been in the repertoire of Ukrainian performers and contributed to the preservation of the national identity in a foreign world.

POLYVECTORNESS OF THE GENRE PALETTE OPERA WORKS OF EMILE JACQUES-DALCROZE

Liubov Nazar — Sun, 22 Dec 2024 21:40:44 +0200

As a composer, E. Jacques-Dalcroze created 11 operas of different genres. These are comic operas in the type of co-plays-musicals: La Soubrette (The Maid, 1881); Riquet à la Houppe (Riquet with a handkerchief, 1883); Ecolier Francois Villon (Schoolboy Francois Villon, 1887). Lyrical comedy became the leading genre, where the author combined the traditions of French opera with the influence of J. Massenet, G. Charpentier, L. Delibes (who studied with E. Jacques-Dalcroze) with elements of opera aesthetics by R. Wagner. Mature lyric-comic operas include the adventure opera Par les Bois (Through the forest, 1888), the lyrical legend Le Violon maudit (The Cursed Violin, 1893), the rustic idyll Janie (1894) and the lyrical comedy Sancho Pança (1896). The latter demonstrates the artist's mature style, where the system of leitmotifs and essential polyphonization are combined with an impressionistic flavor and folk-song material, enriched and developed by ballet scenes.
At the beginning of the 20 th century the author chooses a naturalistic-veristic type of opera, presented in the lyrical everyday drama L'Eau Courante (Gentle Stream, 1903). The last two opera scores gravitate towards the principles of the new modern theater, although they are decided in the spirit of the favorite genre of lyrical-comic opera with a bright domestic and naturalistic component. The chamber opera Le Bonhomme Jadis (The Kind Uncle, 1906) and the Harlequiniad opera Les Jumeaux de Bergame (The Bergamo Twins, 1908) show analogies with the urban and neoclassical tendencies of I. Stravinsky, F. Busoni, a special renewal of the musical language in terms of metrorhythmic modeling, orchestration, vocal technique, etc.
Cooperation with A. Appia over opera productions brought significant changes and innovations in the aspect of opera direction, expansion of the acting skills of vocalists, which was manifested in the synthesis of the art of movement, speech and singing. The work on the eurythmy system also gave rise to a number of youth and children’s
operas (10), written specifically for experimental stagings, and one of the last – Le Petit Roi Qui Pleure (The Little Weeping King, 1932) entered the treasury of national cultural achievements of Switzerland and of Europe.

CHAMBER SPECIFICITY OF B. FILTZ'S PIANO CYCLE «THREE PIECES ON THE THEME OF LEMKI FOLK SONGS»: GENRE-INTONATIONAL AND PERFORMANCE FEATURES

Olena Ovcharenko-Pieshkova — Sun, 22 Dec 2024 00:00:00 +0200

The relevance of the of the problem proposed research lies in the study of the genre-intonation and performance features of Three Pieces on the Themes of Lemko Folk Songs by B. Filtz in the context of the chamber specificity of the cycle. The contexts of the formation of B. Filtz creative personality and the specifics of the national orientation of her work were identified. The discursive aspects of the musicological understanding of the concept of national in Ukrainian musical creativity were determined. The uniqueness of Lemko folklore, which B. Filtz took as the basis of the analyzed cycle, was revealed. The concept of cordocentrism was investigated as a key characteristic of the Ukrainian mentality. It was found that the characteristics of cordocentrism include such qualities as emotionality, heartfelt sensitivity, depth of perception, and spiritual orientation. It is proven that chordocentrism has found its embodiment in the work of many Ukrainian composers and, in particular, in the work of B. Filtz. The specificity of chamber music as a musical category is determined, which is characterized by such qualities as: rich but soft harmonic color, transparent figurative texture, intimacy of expression, sophistication of dynamic gradations, detail of presentation, laconicism, spaciousness. The genre-intonation and performance features of the analyzed work are analyzed. It is proven that the features of chamber intonation are best reproduce in the chamber specifics of the performance of “Three Pieces on the Themes of Lemko Folk Songs by B. Filtz.
The purpose of the article to reveal the chamber specificity of the piano cycle B. Filtz Three Pieces on the themes of Lemko folk songs.
The methodological basis of comprehensive methodology, which includes biographical, genre-intonation, and performance methods of analysis.
Results and conclusions. The stated problem of the study was to identify the chamber style of the analyzed work. The semantics of chamber music consists in recreating a spiritualized atmosphere of contemplation, immersion in the deep spheres of human feelings and impressions, admiration for the beauty of harmony, which requires the performer to have an appropriate pianistic manner of playing: fine detailing, soft shading, etc. The indicators of chamber music in the work Three Pieces on the Themes of
Lemko Folk Songs include the following: limited range of melody, soft harmonic color, intimacy of expression, sophistication of dynamic gradations, transparency of texture, the composer’s attention to prescribing details, laconicism, and sound spaciousness. The conducted research opens up prospects for further understanding of the specifics of chamber music in Ukrainian music.

CHAMBER VERSIONS OF OPERA ARІAS BY ITALIAN COMPOSERS OF THE END OF THE 19 TH CENTURY INTERPRETED BY THE CHINESE SOPRANO HUI HE AND «VERONA LIRICA»

Liang Lijuan — Sun, 22 Dec 2024 21:57:49 +0200

This article examines the nuances of the interpretation of operatic arias by Italian composers from the late 19th century by Chinese soprano Hui He in collaboration with the string ensemble «Verona Lirica». In contemporary musicology, the significance of studying the operatic arts across various cultures is increasingly recognized, as it unveils unique aspects of
interpretation and intercultural communication. The artistry of Chinese performers, particularly Hui He, represents an intriguing phenomenon that opens new avenues for understanding the interplay between different musical traditions.
The aim of this paper is to identify the features of the musical and performance interpretation of individual operatic arias by Italian composers from the late 19 th century by Hui He and the string ensemble «Verona Lirica».
The methodological approach of this research encompasses historical, textual, genre-stylistic, and comparative analyses, facilitating a deeper exploration of the intricacies involved in performance practice. The findings reveal that Hui He’s interpretations are marked by a distinctive originality while maintaining the traditions of Italian opera, all the while incorporating elements of Chinese musical culture. Special attention is given to arias such as «Io son l'umile ancella» and «La mamma morta», which exemplify not only the technical proficiency of the performer but also the depth of emotional expression, thus affirming Hui He’s ability to create vivid stage personas even in the context of concert performances.
The novelty of this research lies in the integration of genre-stylistic and interpretive analyses, as well as the focus on performers who have not received widespread recognition within Ukrainian musicology. The practical significance of this work is that its outcomes can inform the development of educational programs and research initiatives in the field of operatic interpretation, which is particularly pertinent to musicology in both Ukraine and China.
In conclusion, the article emphasizes that the interpretations by Hui He and the «Verona Lirica» ensemble serve as exemplary cases of the successful adaptation of operatic repertoire for concert settings, thereby fostering cultural connections and enhancing interest in the operatic arts within China.

LOUISE BERTIN – A FORGOTTEN FIGURE OF FRENCH MUSICAL ROMANTICISM

Oleksandra Chebotar — Sun, 22 Dec 2024 22:05:30 +0200

The relevance of the study is determined by the appeal to the figure of the composer Louise Bertin, little known in European musicology, who was a significant person in the cultural life of Paris in the 19th century. The operas she created were staged on the capital's stages and caused controversial reviews, but were later forgotten. The present demands a restoration of historical justice to Louise Bertin and an understanding of her place in the French operatic culture.
The novelty of the research lies in the study of the life and work of Louise Bertin, in establishing the details of her biography, as well as in focusing on the only opera libretto by Victor Hugo. The purpose of the article is to investigate the creative path of Louise Bertin and to reveal the reasons for the long-term oblivion of her legacy.
Research results. It turned out that Louise Bertin came from an influential family, her father was the director of the Paris publication «Journal des Débats» and gave her daughter a good education. Based on the decipherment of Victor Hugo's handwritten letters addressed to Louise Bertin, the collaboration between the two artists on the opera «La Esmeralda» is highlighted. Based on the musical periodicals of Paris and the memoirs of Bertin's contemporaries, the process of preparing the opera «La Esmeralda» for the premiere at the Royal Academy of Music is analyzed.
Critical feedback on the production of the opera and positive assessments by contemporaries are given.

Prominent Singers of Hebei Province as Representatives of Vocal Art Development in the Region of the 20th – Early 21st Century

Wang Jianing — Sun, 22 Dec 2024 22:19:42 +0200

The goal of the article is to study and systematize materials about the activities of the most prominent singers from Hebei Province and to summarize their achievements in the context of the overall development of vocal art in China.
The research methodology combines several approaches:
 Source-based method: allows the use of discovered materials to recreate the panorama of the establishment and development of Hebei's vocal art.
 Biographical method: investigates key milestones in the singers' careers.
 Musicological method: analyzes trends in the formation and evolution of their creative paths.
 Retrospective method: reconstructs a holistic picture of the development of vocal art in the province.
Research Results. The study identifies the most prominent singers of Hebei Province and provides key information about them. It compiles their repertoire and defines its specificity, focusing on national songs, patriotic compositions, and operatic works. A notable feature is the focus on patriotic songs, influenced by employment
conditions, mandatory political training courses, and participation in military music festivals.
The article systematizes the primary career directions of Hebei singers:
 Performance activities Participation in competitions and significant concerts at both provincial and national levels It also highlights the contributions of individual singers to pedagogical and scholarly activities.
The study concludes that the Hebei singers, demonstrating high personal motivation, artistic self-expression, and mastery, have collectively made a significant contribution to China's vocal art.
Novelty and Practical Significance.
The novelty lies in the first attempt to identify and systematize the achievements of Hebei’s most representative singers. The findings can be applied to further research on Chinese vocal art within the contemporary music space.

VIOLIN PERFORMANCE SCHOOLS THROUGH THE PRISM OF MUSICAL AND HISTORICAL CONTEXT

Daria Shevchenko — Sun, 22 Dec 2024 22:38:04 +0200

The purpose of the article is to analysis of the development and evolution of various violin schools, the study of their technical, aesthetic and cultural features, as well as in the identification of their influence on modern performing arts and pedagogy.
Research methodology. Materials of research literature are studied by logical, historical, chronological, problemchronological, and musical analysis method. Results. A scientific article on violin performing schools reveals the multifaceted and evolutionary path of this musical phenomenon, combining historical and musical contexts for a better understanding of the development and influence of various performing traditions. The results of the study lead to several key conclusions that help to understand the depth and significance of violin schools in world musical culture. First of all, the article reveals that each violin school, regardless of its geographical origin, has its own unique characteristics, techniques and approaches to performance. For example, the Italian school is characterized by emotional richness and virtuosity, while the German school is characterized by rigor and attention to the details of the musical text. The French school, in turn, emphasizes refinement and elegance of performance. The study also shows how historical events and cultural changes influenced the development of violin schools. For example, in the baroque and classical periods, the basic techniques of playing the violin were formed, which later became the basis for further performance traditions. In the 19 th century, romanticism brought new requirements for expressiveness and technical capabilities of the instrument, which was reflected in the development of new approaches to performance. An important result of the study is the analysis of the impact of technological innovations on violin art. With the development of new materials for making instruments and strings, as well as the appearance of modern production methods, the technique of playing the violin has changed. This influenced the development of new virtuosic techniques and techniques, which have become an integral part of the modern violin repertoire. The article also emphasizes the importance of globalization and information exchange in the modern world. Thanks to globalization, musicians from different countries have the opportunity to learn and adopt the best traditions of different violin schools, which leads to the synthesis of various performance styles and techniques. This, in turn, enriches modern performance practice and opens new horizons for musicians. Last, but not least, is innovation in violin teaching.
Teachers actively use modern technologies and the latest teaching methods, which makes the learning process more effective and adaptive to the needs of students. Postmodern multistylism, which combines elements of different musical traditions, also plays an important role in modern pedagogy. In general, the results of the scientific article not only reveal the versatility and importance of violin performing schools, but also demonstrate their role in the formation and development of modern musical art. This
research helps to better understand the historical roots, evolution and present state of violin performance, providing valuable knowledge for musicians, educators and researchers in the field of music.
The practical significance. The research materials can be used in lectures and seminars on the history of performing musical instruments in secondary and higher educational institutions.

CARPET MAP OF THE SLOBOZHAN REGION 17 TH – 21 ST CENTURIES : TRADITIONAL CENTERS, LOCAL CENTERS, WORKSHOPS

Olena Pavliuk — Sun, 22 Dec 2024 22:44:43 +0200

This article describes the eastern historical and geographical region of Ukraine – Slobozhan Oblast and samples of Slobozhan carpets (from ancient to modern), which are preserved in museums of Ukraine, author's collections and have cultural value along with other works of folk art. The author made an attempt to reproduce the geography of production of Slobozhan carpets in the 18 – 21 st centuries: identifying the area where carpet workshops, manufactories, traditional centers, local centers were located and, based on the analysis of sources, materials of predecessors' works, presenting them on the «Carpet Map of Slobozhan region» in chronological gradation. Having studied samples of Slobozhan carpets, the author characterizes them as having a unique composition and decor, a special technology of weaving on a vertical loom, a warm color, a bright and at the same time soft color scheme with shades of green and mustard in combination with pink and bright blue colors. Among the leading carpet makers of Slobid Ukraine, the workshop of Hetman Pavlo Polubotka of the 2 nd half of the 17 th – 1st half of the 18 th centuries is distinguished. In the village of Mykhailivtsi (Lebedyn district of Sumy region), carpet factories of the 2 nd half of the 19 th – 1st half of the 20 th centuries. Counts of Kapnists, N. Nadarzhynska in Kharkiv Oblast, village Mariinske (Bogoduhiv district), village Mykytivka (Okhtyr district), village Mogrytsia, village Yunakivka, village regional schools etc.

THE PORTUGUESE FOLK PUPPET HERO DON ROBERTO: THE PHOENIX RISING FROM THE ASHES OF THE DICTATORSHIP

Daria Ivanova-Hololobova — Sun, 22 Dec 2024 00:00:00 +0200

The aim of the paper is to analyse the peculiarities of the existence of the national hero of the Portuguese puppet theatre, Don Roberto, in the context of censorship by the dictatorship of the Estado Novo (New State 1933-1974) and to evaluate the consequences of these processes for contemporary Portuguese puppeteers.
Novelty. The article is the first in Ukrainian theatre studies to address the topic of scientific understanding of the Portuguese folk puppet theatre. The works of contemporary theorists and practitioners of this topic are introduced into scientific circulation: Branko P., Correia A., Oliveira J., Zurbach C.
Results. The research proves that despite all the obstacles and challenges, artificially fabricated by the dictatorial regime of the Estado Novo, to the natural development and improvement of the Portuguese folk puppet theatre, led by its protagonist Don Roberto, puppeteers have achieved remarkable results not only in preserving but also in promoting
the traditions of their art. In 2021, this character was registered on the UNESCO National List of Intangible Cultural Heritage by puppeteers. Puppeteers continue to search for traces of texts and plots lost due to censorship restrictions, as well as the character features of regional puppetry throughout Portugal, expanding their repertoire, diversifying the palette of characters, and filling in the gaps left by the Salazar era.
The practical significance. For Ukrainian puppeteers, such an example can serve as a positive trigger and a guide to action to preserve the heritage of nativity theatre (Christmas shows), which was deprived of its rightful place in the contemporary theatrical process as a result of the destructive ideological policy of the soviets. The successful case of the Portuguese puppeteers, who not only preserved but also increased the popularity of their exclusively national theatre, should be a source of inspiration for Ukrainian puppetry masters.

HUILING ZHANG. THE ERA OF SINGING MOVIE STARS IN THE POP AND JAZZ ART OF CHINA IN THE 40-50 S OF THE 20 TH CENTURY : REPRESENTATIVES OF THE OLDER GENERATION OF THE «GOLDEN SEVEN» GROUP – GONG QIUXIA, ZHOU XUAN, BAI HONG

Huiling Zhang — Sun, 22 Dec 2024 00:00:00 +0200

The article is devoted to the examination of the figures of the first galaxy of female singers during the period of the rise and flourishing of female pop and jazz performance in China in the 40 s (before the Cultural Revolution). Based on the traditions of their predecessors Li Min Hui, Wang Ren Mei, Li Lilly – the founders of Chinese female pop and jazz performance, whose work dates back to the 20 s and 30 s of the 20 th century, a new powerful the generation of female vocalists of this direction – the «Golden Seven», which dominated the Chinese pop music industry in the Shidaiqu style. It was founded by singers who began their singing careers in the 1930 s: Zhou Xuan, Gong Qixia, Bai Hong. Revealing the creative priorities and performance and stylistic orientations of each of the singing film actresses made it possible to present a diverse and colorful panorama of the development of pop-jazz music in China during this period. Zhou Xuan (Golden Throat) – movie star and radio singer was noted for high coloratura combined with Chinese elements of singing and folk Chinese instruments in pop-jazz compositions and film music. Gong Qiusia (Beautiful Jade, Golden Voice, Hit Star) personified the type of amphibious artist, organically combining dance and singing, staged pop and jazz numbers, signed the first contract with EMI, recorded a large number of records. Bai Hong (The Aircraft Carrier of the Singing World of China, White Rainbow) owns the first solo programs, distribution of records in Asian countries and other continents, recordings in Hollywood of jazz dance and vocal numbers, participation in the first blockbusters in the Chinese film industry, a combination of the classical bel canto technique, pop-jazz and elements of Chinese opera with the simultaneous use of voice and playing various instruments: piano, pipi, cello, harmonica, etc. give Bai Hong exclusivity. The typological features of female pop-jazz performance are defined: demonstration of a specific binomial of artistic activity, which is outlined by the term «singing movie star»; expansion of boundaries and style vectors in cooperation with world trends of European or American jazz; entering the world arena; forced emigration and the tragic fate of victims of the repressions of the cultural revolution.

TRADITIONS AND INNOVATIVE APPROACHES IN CONTEMPORARY VOCAL ART

Inesh Kdyrova , Nelya Tsapenko ; Olha Plehutsa — Sun, 22 Dec 2024 23:17:14 +0200

This article analyzes the aspects of combining tradition and innovation in Ukrainian vocal art. The purpose is to identify modern trends in performance through singers' rethinking of classical vocal traditions and individual creative reflection, which contribute to the popularization of artistic achievements and enhance audience interaction. The methodology of the research includes cultural-historical and comparative approaches, as well as a descriptive analysis of the aesthetic and technical features of vocal art in the context of postmodernism, supplemented by specific examples of the synthesis of traditional and innovative techniques. The research results reveal distinctive features of postmodern vocal performance, such as eclecticism, intertextuality, deconstruction, and the expansion of technical possibilities through the introduction of modern technologies. The scientific novelty lies in the study of the interaction between traditional and innovative elements in vocal art and the identification of new stylistic approaches to the interpretation of musical works. Further research is expected to analyze the impact of innovative methods on the development of vocal art and to study the interaction between performers and the audience in the context of modern trends in the
popularization of creativity. One of the research directions is the development of vocal art through the use of digital technologies, such as virtual and augmented reality, to create interactive musical projects.

FEATURES OF THE MUSICAL DESIGN OF MODERN CHOREOGRAPHIC COMPOSITIONS

Natalya Koresandovych — Sun, 22 Dec 2024 00:00:00 +0200

Peculiarities of musical arrangement of choreographic compositions of contemporary dance of the first decades of the 21 st century were studied. in Western cultural practices. The relationship between music and dance in the context of creating compositions for modern dance productions is considered. It was established that the development of the relationship between music and dance in any performance tradition is a socially determined process that was formed thanks to a number of historical practices.

The features of choreographic compositions in which music and dance are equal elements are analyzed (including live musical accompaniment and examples of the integration of musicians into a stage production). It was found that contemporary dance productions at the modern stage are complex, usually multimedia compositions that combine visual and audiovisual levels, representing a unique synthesized form and creating a new aesthetic experience.

Based on the study of choreographic compositions of contemporary dance, the productions of which were performed by well-known modern Western choreographers, it can be stated that the connection between music and dance mainly leads to the appearance of extremely conceptual works that are devoid of synchronization. In some cases, choreographic compositions are devoted either to the performative interpretation of music (drawing attention to aspects of its qualities and structure), or to the expansion/strengthening/completion of structural or qualitative, including emotionally qualitative trends, or creating a new emphasis by means of counterpoint and contrast. Modern music and contemporary dance are characterized by a special openness to the unknown and insight, creating their own dimensions for experiments.

TRANSFORMATIONS OF NATIONAL STYLE IN KAZAKHSTANI MUSIC : FROM TRADITIONS TO MODERNITY

Inesh Kdyrova; Olga Juldiyeva, Oleksandr Myroshnychenko — Mon, 23 Dec 2024 12:51:14 +0200

Problem Statement and Relevance of the Study. The Kazakh people have, over centuries, built a unique treasury of cultural and artistic achievements that reflect their spirituality, historical memory, language, and folk art. Kazakhstan's geographical location has positioned it as a bridge between East and West, influencing the specific characteristics of its cultural life. Exposure to the musical traditions of other peoples has expanded interest in Kazakhstan’s cultural heritage. For contemporary artists, the nation’s unique spiritual and cultural heritage serves as the foundation for creative exploration. The younger generation of composers individually chooses their approaches to engaging with tradition. At the turn of the 20 th–21 st centuries, amid complex socio-economic changes, Kazakh culture experienced a particular national revival. During this period, the country's culture was vividly represented through folk art, performance traditions, a school of composition, and a well-developed theatrical, concert, and educational infrastructure [7].
At the Turn of the 20 th–21 st Centuries, Musical Art and Performance in Kazakhstan Were Significantly Influenced by Western Culture. Our research focuses on identifying the specifics of the national style and genre system of Kazakhstani music. The need to study this topic arises from the necessity to fill a scholarly gap through an art-historical analysis of samples of musical creativity by Kazakhstani artistic groups and performers.
The Research Methodology relies on a synthesis of scientific methods: source studies, cultural studies, art history, analytical, and aesthetic approaches. This approach provides a comprehensive overview of the research subject and allows for the systematization of knowledge.
Musicological Works dedicated to the art of Kazakhstan developed in two stages: the first stage (up to the 1950 s) focused on documenting certain events in the formation of the national music school, while the second stage (from the 1950 s to the present) emphasized an understanding of national specificity in performance and creativity. The works of Kazakhstani musicologists and composers, highlighting the historical development of professional music culture, played a significant role in shaping this concept.
The Depths of Kazakh Music’s Philosophical Worldview were explored in monographs by S. Sh. Ayazbekov [1] and researchers Zhumabekov [17]. Art historians Bukunyova D. M. [2] and Dzhumakova U. [3] studied the characteristics of Kazakh musical culture in the 20 th century in the context of amateur and professional art. The specifics of the national style and contemporary concepts in the symphonic genre of Kazakh music in the 20 th–21 st centuries attracted the attention of researchers Kdyrova I. O. and Myroshnychenko O. M. [7]. Polystylistic Trends in academic music in the works of Kazakhstani composers

THE ROLE OF LYUDMILA ZHOGOL IN BRINGING FOLK TRADITIONS INTO LIFE'S INTERIOR

Alla Diachenko — Mon, 23 Dec 2024 13:03:31 +0200

The article highlights Lyudmila Zhogol's creative contribution to the implementation of national motifs in interior design. Emphasis is placed on the characteristic features of her style and the features of using elements of folk culture. The
article is a tribute to the outstanding craftswoman of artistic textiles and academician of the Ukrainian Academy of Architecture – Ludmila Zhogol. The creative path of the artist, her significant contribution to the development of Ukrainian art
and design will be explored. It was highlighted that Ludmila Zhogol became a bright representative of modern Ukrainian design, emphasizing the importance of national traditions in modern art. The School of Ukrainian Design represents a unique combination of historical artistic heritage and innovative approaches of modern artists, as reflected in the work of Lyudmila Zhogol. Her tapestries reveal to the viewer an enchanted fantasy world, which is saturated with both folklore motifs and harmonious artistic images. It was determined that the craftswoman's works demonstrate deep talent, knowledge, a sense of style, and the ability to synthesize national heritage and universal human values in her narrative and decorative tapestries. They are modern in nature, but at the same time are inextricably linked with the traditions of both decorative and monumental art embodied in living interiors. The main feature of their use is their ability to decorate public spaces, performing aesthetic and educational roles. Tapestry, as an important element of monumental and decorative art, required a refresh in creative expression, a new language and a rethinking. It was determined that Ludmila Zhogol's interior tapestries in the «montflor» style met modern aesthetic demands, ensuring harmony with modern sensibilities and rejecting the strict socialist context. The artist's tapestries are a reflection of her spiritual quest, her sincere love for nature and her deep understanding of the beauty of the surrounding world. Her works seem to have escaped from time and historical circumstances. The magical world of floral tapestries reveals the lyrics of nature. Through her works, Lyudmila Zhogol conveys the richness and generosity of Ukrainian nature, reflecting her boundless passion for her native land.

SONG CREATIVITY OF UKRAINIAN ARTISTS DURING THE WAR PERIOD IN THE CONTEXT OF THE EMOTIONAL EXPRESSIVENESS OF ARTISTIC REFLECTION

Yuliia Antypenko; Levko Veronika — Mon, 23 Dec 2024 00:00:00 +0200

Musical art has always been an effective means of shaping collective consciousness through artistic forms of expression. The topic of this study is the song craft of contemporary Ukrainian pop performers during wartime, with
particular attention to the emotional spectrum and artistic reflection. The goal is to analyze the ways in which wartime reality is artistically portrayed, and the means of musical reflection through which artists convey complex emotional
states caused by war. The research methodology involves the use of analytical, empirical, and structural-typological methods to achieve the study's goals. The scientific novelty of the research lies in the fact that, for the first time, the
works of modern Ukrainian songwriters have been analyzed in the context of how extreme circumstances influence artistic creativity and aesthetic expression. Based on the results of the study, it was concluded that, in the context of war,
the pop song genre acquires special significance, serving the functions of emotional regulation and reflecting the collective sentiments of society through artistic reflection. Further research perspectives will allow for a deeper
understanding of the role of the song genre as a means of cultural communication and social mobilization, as well as its impact on shaping national identity in the context of contemporary history.

CTRONIC MUSIC CATEGORIZATION : ANALYSIS OF MODERN APPROACHES AND RESEARCH PROSPECTS

Serhii Lazarev — Mon, 23 Dec 2024 13:37:14 +0200

This research of electronic music is dedicated to the aspects of systematization of its classification in prospect of internet musical platforms categorization system modernization. Style and sub-style categories, which are designated as
«genre» and «sub-genre» on popular international music platforms Beatport, Traxsource and Music Worx were studied.
The comparative analysis of categories and sub-categories was carried out, as a result their similarities and differences are identified. The quantitative assessment of the existent musical works on the platforms was made. For the analysis,
accurate current data has been collected, which are presented in the tables for clarity. The research is illustrated with the diagram demonstrated the percentage ratio of the musical pieces in categories on the musical internet-platform
Traxsource. The terminology, effective for both academic and non-academic spheres, has been clarified. It has been found that the fundamental factor influencing the development of the phenomenon of the mass electronic music is the
mass culture. Among the main factors of branching and merging of the stylistic directions of the mass electronic music, the standards of the music industry and the demand of the user audience has been identified. The analysis carried out,
allowed us to conclude that there is no generally accepted system of the electronic mass music categorization. As the result of the research the «sub-system of recognition markers» that will be much more focused on individuality was
suggested. It will count the character and the emotional state as well as the website navigation. This study expands the view on the classification of modern mass electronic music, opens up the ways for the new searches and creates the
basis for further research of the phenomenon.

IMPROVING THE SOUND CONDITIONS OF MUSICAL GROUPS IN CONCERT HALLS OF HISTORICAL AND RELIGIOUS BUILDINGS (ON THE EXAMPLE OF THE HOUSE OF ORGAN AND CHAMBER MUSIC OF THE CITY OF LVIV)

Oleksandr Voitovych — Mon, 23 Dec 2024 13:46:15 +0200

The aim of the paper is to establish the improvement of the sound conditions of musical groups by applying the complex methodology of acoustic research of concert halls that underwent reconstruction during historical periods.
Research methodology. In this article, the research is based on the study of the achievements of acoustic scientists, as well as the following methods: analytical – in the study of scientific literature; theoretical – to define special terminology,
description of phenomena that take place during research, parameters according to which evaluation is carried out; empirical – when listening to musical groups in a concert hall with subsequent expert evaluation of the results. Comparative – in the process of comparing research results; methods of analysis and synthesis – for processing the research results, as well as the interview method – for obtaining information from musicians and active listeners.
Results. As a result of the study of the acoustic properties of the concert hall before and after the reconstruction, we can summarize: the sound of musical groups has changed for the better, but the expert group is inclined to the opinion that the sound of fast, dynamic music is less desirable in this concert hall. Instead, the hall is more suitable for works of sacred music that are performed at more moderate tempos.
Subjective assessment of acoustic quality is mainly confirmed by objective acoustic parameters, so the application of the proposed research methodology for concert halls that have undergone reconstruction can be considered justified. It
received a particularly accurate confirmation (almost complete) among specialists. An oral survey, which was conducted among amateurs of symphonic music, showed the one-sidedness of their assessments. They ranged from «good» to
«excellent» and therefore less accurate.
Therefore, the evaluation of the sound of musical groups by acoustic experts, sound engineers, composers, conductors, musicians, music critics and regular concertgoers (specialists) in most cases corresponds to real acoustic conditions.
Novelty. Consists in an attempt to propose an original research methodology, which is based on the method of full acoustic research, to concert halls of historical and religious buildings that have undergone reconstruction.
The practical significance. This original methodology can be proposed for the research of all concert halls that have undergone reconstruction.

VIRTUAL MUSIC PLATFORMS AND INTERACTIVE ONLINE CONCERTS AS INNOVATIVE TOOLS FOR POPULARIZING ACADEMIC VOCAL ART

Iryna Stetsenko-Yershova — Mon, 23 Dec 2024 14:09:52 +0200

In recent years, the rapid development of digital technologies has revolutionized the cultural and musical landscapes, especially in academic vocal art. Virtual music platforms and interactive online concerts have emerged as essential tools for
expanding cultural reach and enhancing engagement with classical music audiences. This paper examines the potential of these platforms in promoting academic vocal art, focusing on opera and chamber music performances. For students of
academic singing, digital platforms provide unprecedented opportunities for performance practice, connecting with global audiences, and refining artistic expression outside of traditional live performance settings.
This study reviews the latest trends in digital platforms – such as YouTube, Patreon, and specialized music streaming services – that offer adaptable, user-friendly formats for showcasing academic singing. It emphasizes the ways in which these platforms allow for unique interactive experiences, including live feedback from viewers and realtime engagement, which can enhance performance skills and cultivate a broader audience.
Despite these advantages, academic vocalists face distinct challenges when moving from traditional performance venues to digital spaces. These challenges include technical audio and visual adaptation, the lack of immediate audience feedback, and the need for alternative methods of expression to maintain emotional and interpretive depth. Through qualitative analysis of current practices, this paper investigates strategies for overcoming these limitations, including sound interpretation techniques, visual presentation adaptations, and audience interaction methods specifically suited for virtual environments.
In conclusion, this study proposes that virtual platforms are not only effective tools for performance practice but also play a vital role in popularizing academic vocal music by reaching audiences who may otherwise have limited access to
classical music. By leveraging digital platforms, academic vocalists can break geographical barriers, enrich their professional practice, and contribute to the broader cultural dissemination of classical and operatic works. The findings underscore the importance of digital tools in redefining cultural engagement and expanding the reach of academic singing in the 21 st century.

THE SYNTHESIS OF ROMANTIC WESTERN EUROPEAN TRENDS AND NATIONAL CHINESE MEANS OF EXPRESSION IN XIAO YUMEI'S ART SONG TO THE POEM AND WEIZHAI «POPLAR FLOWER»

Oksana Pysmenna; Xiong Chengyang — Mon, 23 Dec 2024 14:41:35 +0200

The purpose of the study is to identify stylistic trends in the composer's chamber vocal works through a comprehensive analysis of musical expressive means and architectonics of Xiao Yumei's representative song «Yanhua» – «Poplar Flower».
Research methods: historical – to outline the stages of development of the chamber vocal genre; source study – to study scientific literature; structural and analytical – to analyze the composer's chamber vocal works, determine the
style, semantic content and features of the composer's musical language.
The scientific novelty of the work is determined by the fact that it is the first to study the peculiarities of musical thinking and musical language of the composer Xiao Yumei on the example of the Chinese author's song «Poplar
Flower» to a poem by the contemporary poet Yi Weizhai.
Conclusions. A detailed analysis of the expressive means: melody, harmony, rhythm, as well as the correspondence between the poetic text and its musical embodiment demonstrated to what extent the composer used European late romantic features of compositional creativity in combination with traditional Chinese features.
In Xiao Yumei's Chinese art song «Poplar Flower» based on the poem by the contemporary poet Yi Weizhai, the artist demonstrated the romantic and lyrical trend of poetry, the important role of piano accompaniment in musical drama, the use of complex expressive means, primarily harmonic, as well as a rather complex form of organizing the musical fabric – a through form with signs of three-partness. All these European romantic features appear in synthesis with classical Chinese national characteristics.

EUROPEAN ORCHESTRAL MUSIC AT THE NATIONAL CENTER OF PERFORMING ARTS IN BEIJING : REPERTOIRE AND INTERPRETATION ASPECTS

Geng Yinuo — Mon, 23 Dec 2024 16:41:01 +0200

The aim of this paper is to identify the repertoire characteristics of European orchestral music at the National Centre for the Performing Arts in Beijing and to analyze the interpretative approaches to the performance of individual
works by renowned Chinese conductors.
Research methodology. This study employs historical, textual, genre-stylistic, and comparative analyses. These methods allow for a deeper understanding of the specifics of performing European orchestral music within the context
of concert practice at the National Centre for the Performing Arts in Beijing, providing a comprehensive insight into the interpretative approaches of Chinese conductors and their interaction with the repertoire.
Results. In recent decades, the performing arts of Chinese musicians have consistently attracted the attention of the international community. Significant achievements by Chinese musicians are closely linked to the large-scale socio-political
transformations that occurred in the country at the end of the 20 th century, as well as to intensive globalization processes that define the cultural landscape of contemporary society. These factors have facilitated the emergence of talented Chinese composers and performers on the global stage, demonstrating high levels of mastery and artistic sensitivity. In this context, the study of the «life» of European orchestral music in China becomes an important subject of contemporary musicology,
illuminating its impact on the development of local musical culture and global processes of cultural interaction. The article examines the unique aspects of the art of Chinese conductors in the context of music history, emphasizing the influence of Western tradition on contemporary Chinese performing arts. It analyzes the interaction between European musical canons and local traditions, as well as the role of government initiatives in the development of classical music in China. The evaluation of interpretations by prominent conductors confirms their significance in popularizing European music within the Chinese context.
Scientific novelty. This paper represents a relatively new issue in Ukrainian musicology, focusing on the specific interpretations of Chinese conductors and their impact on the perception of European music.
Practical significance. The findings may prove useful for studying the peculiarities of orchestral music interpretation in both Ukrainian and Chinese musicology.
Conclusions. The activities of Chinese conductors at the National Centre for the Performing Arts in Beijing constitute an important factor in the development and ongoing cultural exchange between East and West, contributing
to the formation of new artistic concepts and interpretative approaches.

INFINITE NOW : PHILOSOPHY OF TIME IN THE MUSIC OF CHAYA CZERNOWIN

Yana Shliabanska — Mon, 23 Dec 2024 17:33:25 +0200

The article explores the concepts of time in the music of Chaya Czernowin (b. 1957), specifically how her work reflects philosophical notions of temporal dimensions within contemporary musical discourse. The aim of this study is to analyze the means by which Czernowin engages with the sensation of time. The methodology is based on a synthesis of historical and contemporary musicology, including detailed score analysis and the examination of the context surrounding the composer’s works. Theoretical methods of generalization are also employed to identify key concepts of temporal structures in Czernowin's oeuvre. The scientific novelty of the article lies in introducing the concept of «philosophy of time» into the musicological discourse as an important aspect of interpreting contemporary musical texts. The focus is on the composer’s unique approach to experimenting with temporal elements and their role in the dramaturgy of her works. The conclusions emphasize that time in Czernowin's music not only structures sound events but also opens new perspectives for experiencing music and fosters interaction between the listener and the composer.

SPECIFICITY OF THE VIOLIN CONCERT GENRE IN THE WORK OF JEAN-MARIE LECLAIR (ON THE MATERIAL OF THE CONCERT OR. 7 No. 2 D MAJOR)

Maosen Tang — Mon, 23 Dec 2024 17:42:19 +0200

The aim of this paper is to determine the genre, stylistic and compositional features of the musical language of the violin concerto op. 7 No. 2 by the French composer Jean-Marie Leclair. Research methodology. Many serious
publications on this topic have been analyzed.
Research methodology. It was analyzed a lot of major publications on this topic. The principles of historical and cultural approach, stylistic analysis and historical methods were used.
The results. The article examines the specifics of the concert genre in the work of Jean-Marie Leclair. It was found that in the violin concerto op. 7 No. 2 D major characteristic features of the Italian concert model are intertwined with the
traditions of French music. The composer focuses on the traditional tripartite genre of the concerto (fast extreme parts and an ariad lyrical center of the work), although the concerto has a slow solemn introduction, which is written in the spirit of overtures to French «lyrical tragedies». The peculiarities of the form of each of the parts are noted (the rhythmic form in the extreme parts, the boundaries of which are additionally indicated in the notes as Tutti and Solo, and the two-part form of the second part of the concerto). Features of the musical language (thematism, rhythm, texture, harmonic and timbre features) of the work are characterized. Special emphasis is placed on the virtuosity of the solo violin part, which in this concert is closely connected with sound-image elements and imitation of birdsong. A similar tradition is characteristic of French musical culture. In the performance aspect, the careful consideration of the composition, the economy in the use of effects, the accuracy of intonation and the noble expression characteristic of the French tradition are emphasized.
The novelty of the work lies in the involvement of music that have not yet been studied and a new stylistic perspective on the problem.
The practical significance. Results of this issue may be useful for Ukrainian musicology in studying baroque concert music. The conclusions summarize the main conclusions and outline the prospects of the research.

REIMAGINING VOCAL ART IN 20TH-CENTURY MUSICAL AVANT-GARDE: EXPERIMENTS AND INNOVATIONS

Olena Sіerova — Mon, 23 Dec 2024 00:00:00 +0200

The article examines the transformation of vocal art in the musical avant-garde of the 20 th century, focusing on extended vocal techniques. Key compositional methods, including Sprechgesang, multiphonics, overtone singing, and
extreme techniques, are analyzed in the context of their influence on musical expressiveness. Attention is given to works by A. Schoenberg, K. Stockhausen, and H. W. Henze, who redefined vocal timbre and expression. The role of
electronics and technological innovations in compositions by P. Schaeffer, P. Henry, and G. Scelsi is emphasized.
These innovations redefined the voice as a medium for creating sonic textures, reshaping its interaction with soundscapes and expanding the horizons of contemporary musical practices.

RESEARCH ON THE CONCEPT OF MUSICAL DRAMATURGY IN THEATRICAL PERFORMANCES

Alina Kuriata — Mon, 23 Dec 2024 00:00:00 +0200

The article «Exploring the Concept of Musical Dramaturgy in Theatrical Productions» delves into a comprehensive analysis of the role of music in the theatrical arts through the lens of musical dramaturgy. Through a historical overview of the
development of musical dramaturgy in various cultural and historical contexts, the article identifies key aspects of this concept and its influence on the creation and reception of theatrical productions. The author explores different approaches to understanding musical dramaturgy, including integrative, dramaturgical, expressive, and sociological perspectives, demonstrating their practical significance in crafting emotionally rich and impactful theatrical experiences for audiences. This
article not only enriches our understanding of musical dramaturgy but also opens up new avenues for further research in this field, contributing to the ongoing development of theatrical arts as a whole.
Objective: The aim is to uncover the evolution of the concept of musical dramaturgy in theatre, identify diverse approaches to its understanding, and illuminate its role in creating emotionally engaging and impressive theatrical performances for audiences. The goal of the article is to stimulate discussion and further research in this area to enhance understanding and appreciation of the importance of musical dramaturgy for contemporary theatre.
Research Methodology: Based on the analysis of primary sources, literary references, and theoretical concepts of musical dramaturgy in theatrical productions. Utilizing a comparative analysis of various cultural and historical contexts, as
well as a critical review of contemporary research in the field. The methodology involves systematic organization and synthesis of information to identify key aspects of musical dramaturgy and its influence on theatrical art.
Scientific novelty: The article offers a renewed and in-depth examination of the concept of «musical dramaturgy in theatrical productions», revealing it through the prism of different historical periods, cultural contexts, and methodological
approaches. The emphasis on various aspects of this concept, including its evolution, role in contemporary theatrical art, and its relationship with other cultural aspects, makes the article innovative and opens up new possibilities for further research in this field.
Practical Significance: The article holds significant practical value for theatrical studies, education, and performance practice. Understanding musical dramaturgy in theatrical productions helps theater practitioners, musicians, and directors
better organize the musical aspects of performances, providing a deeper understanding of the emotional impact of music on audiences. Moreover, this research can serve as a basis for developing new theoretical concepts in the field of musical
dramaturgy and contribute to the further development of theatrical arts as a whole.
Conclusion: This article has examined the concept of «musical dramaturgy in theatrical productions» from various perspectives – historical, cultural, and methodological, among others. Through an analysis of different stages of the
development of this art form, consideration of various approaches to its understanding and research methodology, we have come to understand the importance of musical dramaturgy in theatrical performances as a key element influencing the emotional experience of audiences. This research underscores the significance of music as an integral part of theatrical art and contributes to a deeper understanding of its role in the contemporary cultural context.

ORIENT AND OCCIDENT: WHAT THE «MASKS» BY KAROL SHYMANOVSKY HIDE

Denys Bodnar — Mon, 23 Dec 2024 20:31:36 +0200

The purpose of the article: to reveal the semantic and stylistic features of the combination of oriental and occidental types of thinking as evidence of a «cultural meeting» in the piano cycle «Masks» by Karol Szymanowsky.
Research task: to analyze the plays of the «Masks» cycle through the declared prism; to reveal the semantics of the West and the East in the program load of the plays and to follow the ways of its implementation.
Research methodology. The topic of the article required the use of such methods as cultural and integral musicological analysis. The first of them became a prism for understanding the «cultural meeting» of the Orient and the Occident as types of thinking. The second gave the specified features in the piano cycle «Masks» by Karol Szymanowsky.
The results. In general, the cycle «Masks» is a vivid example of musical symbolism, while we can state that the embodiment of oriental imagery is dominated by impressionistic style, based on the search for sound color, secession, represented by exquisite linear writing, and vivid allusions to Arabic («Scheherazade») and Ibero-Moorish («Serenade of Don Juan») cultures, sophisticated exoticism. On the other hand, when portraying images characteristic of Occidental culture, the stylistics turns out to be late romantic and expressionistic, which cultivates a special power of feeling and its dynamic development, as well as a kind of expressive scherzoness associated with it. At the same time, in the plays there are also numerous examples of a combination of the specified types of thinking, which reflect, respectively, «state» and «action», which gives the cycle a special originality.
Novelty. The scientific novelty of the research lies in the semantics interpretation of the cycle «Masks» by Karol Szymanovsky as a reflection of the Occident and the Orient «cultural meeting».
The practical significance. The results of this study can be used in courses on the culture history and the piano art history in higher education institutions.

PRINCIPLES OF DECONSTRUCTION IN CONTEMPORARY VISUAL ART: THE UKRAINIAN EXPERIENCE

Nadiia Kopylova, Maryna Sapunova — Mon, 23 Dec 2024 20:42:58 +0200

The aim of the research is to identify and analyze the specifics of deconstruction practices in the Ukrainian artists’ works of the late 20 – 21 st centuries, considering national socio-cultural context. The study of contemporary art practices offers valuable insights into the transformations occurring in human consciousness and society.
Methodology of the research. The methodological basis of the article is inherently interdisciplinary, enabling an in-depth analysis of both artistic practices and the cultural contexts in which they emerge. The theoretical basis of the study is based on the philosophical method of deconstruction by Jacques Derrida, art history studies and cultural studies by Ukrainian and Western European researchers. The methodological basis is strengthened by semiotic analysis, gender analysis, discourse analysis. These methods allowed us to explore the national, symbolic and gender aspects of contemporary visual art, and to analyze its public narratives.
Results. The study concludes that the principles of deconstruction in contemporary art practices not only transform traditional aesthetics but also serve as a powerful tool for constructing national identity and reinterpreting historical, political, and socio-cultural experiences. Contemporary artists actively employ deconstruction principles to articulate public statements and ensure their voices resonate within the global community.
The novelty. The study enabled the authors to identify and systematize the main directions of creative deconstruction practiced by Ukrainian artists. This approach highlights the most sensitive aspects of Ukrainian history, culture, and artistic creativity that remain highly relevant today. The research contributes to the advancement of scientific knowledge regarding the application of deconstructivist methods in Ukrainian art practices and clarifies their impact on the evolution of contemporary visual art.
The practical value. The results of the research can serve as a foundation for further analysis of contemporary Ukrainian art and provide recommendations to artists, curators, and cultural institutions on promoting creativity that incorporates the principles of deconstruction and embraces new approaches to art.

REVIVAL OF THE BEST EXAMPLES OF NATIONAL BALLET PERFORMANCE : CULTURAL INFLUENCES

Tetiana Bragina , Olena Kurdupova , Larysa Degtyar — Mon, 23 Dec 2024 21:19:31 +0200

The article analyses the peculiarities of the revival of the best examples of national ballet performances in the context of strengthening the processes of identity assertion in the context of the Ukrainian people's struggle for independence. The specifics of the development of ballet art in modern Ukraine in the context of intensification of socio-cultural transformations (democratisation of values, modernisation of the information space, globalisation, national self-awareness, etc.) are determined. A comparative analysis of the compositional features (spatial construction of mezzanines, choreographic techniques, choreographic text, means of revealing artistic images) of the first stagings of ballet performances and their modern editions is carried out. The main artistic trends in the process of revival of national ballet performances («Lilea», «Forest Song», «Shadows of Forgotten Ancestors», «Jay's Wing») are
comprehended; the vector of changes in the repertoires of opera and ballet theatres, drama theatres and musical comedy theatres is determined. Further prospects for the revival of ballet performances in Ukraine are identified, choreographic possibilities for further establishing the national ballet performance as one of the main elements in the process of national identity formation are revealed.

ARTISTIC IMPLEMENTATION OF THE REBIRTH ARCHETYPE: A LOOK THROUGH THE PRISM OF MYTHʼS LIFE (ON THE EXAMPLE OF THE CHORAL SCHEDRIVKA GENRE)

Hanna Kukharyk — Mon, 23 Dec 2024 21:26:25 +0200

The purpose of the article: to substantiate the model of the artistic implementation of the Rebirth archetype in the life of the myth in the choral music of the second half of the 20th – the beginning of the 21st centuries, using the example of the shchedrivka genre.
Research methodology. Fifteen important studies related to the specified topic were considered, which can be grouped as follows: 1) research into the nature and modern implementation of the myth; 2) interpretation of the Rebirth archetype in the K. G. Yung theory; 3) an explanation of the positions outlined above in Ukrainian musicology.
The results. The Rebirth archetype is a constant component of the calendar-ritual life cycle of the myth, realized in numerous folklore and academic works of art. The analysis of the genre of charity in the choral work of Ukrainian composers of the second half of the 20 th – the beginning of the 21 st centuries revealed the main semantic and stylistic features inherent in the specified archetype, the main of which is an appeal to ancient, primary religious origins, which is created as original – folklore musical and poetic formulas, as well as modern authorʼs reproduction of the semantics of meeting the new year as a new life. The article presented works in which various forms of the Jungian Rebirth archetype were embodied: metempsychosis, rebirth, personality transformation, indirect rebirth.
The conducted scientific research also showed that the resurrection, as a form of the Jungian archetype of Rebirth, in the consciousness of modern man is connected with the resurrection of Christ, which is a promising topic for future research.
Novelty. The novelty of this study lies in outlining the scientific panorama of the mentality concepts and identity in their projection on the musical art and in the correlation of their meanings from a musicological point of view.
The practical significance. The results of this article may encourage future researchers of Ukrainian music to study current topics in this scientific field.

NATIONAL IDENTITY IN CONTEMPORARY UKRAINIAN FINE ART: THE INFLUENCE OF TRADITIONS AND INNOVATIONS

Volodymyr Ropetskyi, Nataliia Zolotarchuk, Natalia Stoliarchuk — Mon, 23 Dec 2024 21:41:57 +0200

The phenomenon of the manifestation of national identity in the context of modern Ukrainian fine art is studied using the example of the works of Olga Haydamaka and Oleg Shuplyak. The basis of the study is the analysis of how traditional Ukrainian motifs and images are transformed by modern artists, creating new forms of expression of national consciousness, especially in the conditions of the Russian-Ukrainian war.
National identity is one of the key factors affecting the development of modern Ukrainian art. Traditional images and symbols, on the one hand, serve as a solid foundation for artistic creativity, and on the other hand, they become the object of new interpretations and experiments. There is also a certain historical and cultural connection between the ideological visions of the Baroque era and the present. In particular, this is noticeable in the actualization of the image of Hryhoriy Skovoroda and his philosophical and aesthetic ideas and views, which, in particular, was embodied in her work by Olga Haydamaka. She also actively popularizes Ukrainian traditional costumes and female and mythological images through her work. Oleg Shupliak, among other things, actualized the plots and images of mythology, adapting them to the realities of the Russian-Ukrainian war and created a number of original works of art, in which the historical and cultural traditions of the Ukrainian people are recorded in a visual form.
Modern Ukrainian artists actively use the possibilities of modern art to express their national identity, creating original and relevant works.

INFRARED EXAMINATION OF ARTWORK : EVOLUTION, POSSIBILITIES AND PROSPECTS FOR METHOD DEVELOPMENT

Olena Andrianova — Mon, 23 Dec 2024 21:49:05 +0200

The aim of this paper is to study and analyze the main historical stages of the evolution of artwork examination in the infrared range, outline current trends, and discuss possibilities of applying infrared radiation in technological research.
The research methodology is based on a comprehensive scientific approach and uses general scientific methods of scientific knowledge, including generalization, synthesis, induction, and deduction.
Results. The article discusses the evolution of artwork examination in infrared radiation, from the discovery of infrared rays, the appearance of sensitized photographic films, the development of methodology and its implementation in museum research practice to the digital cameras and computer technologies application. The background, peculiarities of development, and capabilities of infrared photography and reflectography in reflected and transmitted light, infrared luminescence method, and false-color infrared imaging were analyzed. Modern trends and prospects for the application of infrared radiation in the examination of artworks are highlighted.
Novelty. The article discusses the evolution of the application of infrared radiation in artwork research for the first time. It was demonstrated that the advancements in research capabilities and the expansion of the art objects examination in the infrared range were due to the development of techniques and technology.
The practical significance. The information provided in the article contributes to a deeper understanding of the evolution of the artwork examination in the infrared range, increases knowledge of the method's capabilities, and promotes the development of practical applications of infrared imaging in the examination of Ukrainian cultural objects.

THE CONCEPTUAL SPHERE OF RITUAL RITES IN CHINESE VIOLIN MUSIC COMPOSER MA SITZONG

Li Yanlong — Mon, 23 Dec 2024 22:08:59 +0200

The embodiment of Chinese ritual rites in Ma Sitzong’s violin music as one of the most important spheres of the national artistic outlook was reflected in several iconic compositions. They demonstrate peculiar types of programming and the specifics of the musical embodiment of the mythological-legendary sphere and religious-ritual rites. The three-part «Tibet Suite» reproduces a grandiose picture of the grandeur and mystery of the highlands with virtuosic romantic pathos in «Myths, Spirits and Deities of Tibet». Elements of the religious ritual of Buddhist monks (sonorous sounds of sacred instruments and chanting of mantras) are clearly expressed in the static and meditative «Lamaist Temple». The dynamics of the «Dance with Swords» (the beginning of the Buddhist mystery of Tsam) conveys the skill of the monks in the sacramental fighting techniques of kong fu.
The «Dance of the Dragon Lanterns» is subjected to detailed analytical consideration, where for the first time in Chinese violin music this religious-ritual conceptual sphere is embodied by the means of literal reproduction of the ritual. In this monumental composition, several idiomatic lines of sacred rites intersect. These are: a) the embodiment of direct plastic and choreographic elements of the Dance of the Dragon with folklore support through the appropriate musical design of this action; b) fondness and an attempt to recreate the symbolism and beauty of the Dragon Lanterns, which in the being of the Chinese people are one of the deep symbols of national identity, by means of impressionistic sound recording; c) the final Fireworks, as another symbol of China.
In the Taiwanese suites, Ma Sitzong demonstrates new features not only of the stylistic and expressive order, but also a new figurative and substantive sphere, plunging into the depths of the emergence of the first worldviews and religious ideas, where he will adapt primitive communal types of music-making, archaic pragenres of vegetative and hunting rites, shamanistic rituals («Sacrifice» and «Spirit Summoning» from the «Gaoshan Suite») in the dimension of universal archetypes for humanity, paving the way from folklorism to neo-archaicism, neo-mythology, gravitating towards minimalist tendencies, trying to find those impulses in primary forms, find support and the roots from which the entire intellectual world, all inexhaustible spirituality, emerges of today modern humanity.

CHAMBER GENRES IN THE DIGITAL ERA :THE INFLUENCE OF ELECTRONIC TECHNOLOGIES ON THE CLASSICAL TRADITION OF ENSEMBLE PERFORMANCE

Kateryna Cherevko — Mon, 23 Dec 2024 22:16:17 +0200

The aim of this paper is to examine the impact of electronic technology on the development of chamber music genres and ensemble performance in the digital age.
Research methodology. The most significant academic works in the field of chamber music, chamber ensemble performance and chamber instrumental genres covering the issues of this article were reviewed.
Results. As a result of the research, it can be stated that modern chamber music has undergone significant transformations under the influence of electronic and digital technologies. They have become an important tool for updating this genre, expanding its capabilities and adapting it to the requirements of the modern listener. Traditional chamber music, which has always been distinguished by intimacy and dialogicity, is harmoniously combined with new technical means, allowing the creation of unique sound textures. The integration of electronics and digital instruments not only complements traditional performance practices, but also opens new prospects for interaction between performers and listeners. The experimental nature of modern chamber music is also important, contributing to the formation of new genre forms. Thus, modern chamber music demonstrates the ability to adapt, maintains a connection with traditions, and opens new horizons for creativity.
Novelty. This article first considers electroacoustic compositions as examples of chamber music. It is proven that the use of electronic and digital technologies expands the genre palette of chamber works.
Practical significance. The article opens a new perspective on the genre specificity of modern chamber works written for various instrumental or vocal-instrumental ensembles in combination with electronic sound technologies.

CONCEPTUAL FOUNDATIONS OF UKRAINIAN GUITAR STUDIES : A REVIEW OF RESEARCH IN THE FIRST DECADES OF THE TWENTIETH CENTURY

Yurii Kurach — Mon, 23 Dec 2024 22:22:43 +0200

The purpose of the article is to identify and characterise the main conceptual foundations of Ukrainian guitar studies based on the analysis of scientific research of the first decades of the twenty-first century.
Research methodology. The study uses the basic principles of historiographical and source research methods, which allowed us to systematise the information about the scientific works under consideration in a certain way. The methods of analysis and synthesis allowed us to distinguish the main ideas of these works from the positions relevant to modern Ukrainian guitar studies.
The results. The analysis of the main content created in the first decades of the XXI century in the field of guitar studies has shown that the most studied problems are such as the history of guitar art in the synthesis of performing and composing creativity, the concept of universalism in explication on guitar creativity has gained significant development, features of which can be seen in the work of most prominent guitarists, traced some of the ways in which the Ukrainian guitar school was formed, analysed numerous examples of musical works by foreign and Ukrainian authors, etc.
At the same time, a number of problems need to be studied that we consider extremely relevant for the further formation of the guitar studies field, including a holistic vision of the ways of evolution of the Ukrainian guitar school as a phenomenon of European musical art, the connection of the musical and performing archetype of the guitarist and his «stylistic portrait» with national, mental, aesthetic, psychological and other important factors of influence. In studying these issues, we see prospects for further research in the field of guitar studies. Novelty. The scientific novelty of the study lies in the identification and systematisation of the main ideas of scientific works of the first decades of the twenty-first century in the field of Ukrainian guitar studies.
The practical significance. The results of the study can be used in the educational process in music institutions of higher education.

«PSALM NO. 67» BY LESIA DYCHKO IN THE CONTEXT OF SACRED CHORAL WORK OF THE COMPOSER

Rafail Hasanov — Mon, 23 Dec 2024 22:28:58 +0200

The aim of this paper is to analyze Lesia Dychko’s «Psalm No. 67» in the context of her sacred choral work and identify the features of the musical stylistics of this choral composition.
Research methodology is based on an interdisciplinary approach, which includes cultural, religious and philosophical, textual and musicological aspects. The following general and special methods are involved: historicalcultural, textological, semiotic, musicological.
Results. Lesia Dychko masterfully interpreted biblical verses in the Ukrainian national spirit using modern musical stylistics. The work is characterized by a free approach to the original text, a streamlined form, and tonal and harmonic coloristics that incorporate sonorous complexes. The content of the psalm app eals to elevated and solemn imagery and emotionality. Its structure combines features of a three -part reprise form and rondo, employing principles of variation development. The integrity of the composition is realized at various levels –
imagery, formal creation, tonality, and texture. The significant role of the composer’s synesthetic thinking is noted, which manifests in the richness of coloristic effects. It has been proven that «Psalm No. 67» is a vivid representative of the nationally expressive innovative style of the composer alongside her other choral works of sacred content.
Novelty. The analysis of Lesia Dychko’s «Psalm No. 67» has been conducted for the first time within the context of her spiritual choral works. The scientific results obtained can be utilized in the practice of choral conductors and performers, as well as in the further study of the composer’s style and Ukrainian choral music from the late 20 – early 21st century.

FEMALE ARCHETYPAL IMAGES IN EAST SLAVIC MUSICAL CULTURE OF THE MIDDLE AGES

Tetiana Kaplun — Mon, 23 Dec 2024 00:00:00 +0200

The purpose of the study. The article is devoted to the results of the study of the peculiarities of the embodiment of female archetypal images in the East Slavic musical tradition of the Middle Ages – folklore and church singing.
The research methodology is based on historical, musicological, ethnomusicological, and musicological-medievalist approaches to the study of cultural phenomena of the musical culture of the Eastern Slavs. The article contains an interdisciplinary, synthetic approach that allows us to study folklore and monodic samples of the East Slavic area.

VOCAL POP ART AS A TOOL FOR INTERCULTURAL COMMUNICATION

Tetiana Shershova — Fri, 27 Dec 2024 15:01:22 +0200

The article explores vocal pop art as a tool for intercultural in the context of globalization. It particularly analyzes contemporary trends in the development of vocal performance, its role in shaping intercultural dialogue, and the challenges
vocalists face in the context of crosscultural interaction. The study examines the transmission of cultural meanings through vocal genres and the technological aspects of their dissemination at the international level. Methodology. The research is based on an interdisciplinary approach, combining methods of cultural and musicological analysis. A comparative method is used to contrast different vocal traditions, content analysis to study musical works as carriers of cultural codes, and a sociocultural approach to explore the impact of technology on cultural interaction. Scientific Novelty. The novelty of this research lies in the comprehensive analysis of pop vocal art as a means of intercultural communication, which has so far
remained insufficiently studied in the context of global cultural processes. The originality of the work is in combining an analysis of vocal techniques and genres with the study of their impact on crosscultural interaction, as well as examining
technological innovations in the dissemination of musical works. Conclusions. Vocal pop art is a powerful means of intercultural communication, facilitating dialogue between different cultures and overcoming language and cultural barriers. However, globalization and technological changes present new challenges, including the issue of preserving the authenticity and cultural uniqueness of vocal works. At the same time, modern trends in vocal performance open up new
opportunities for cultural enrichment, making vocal art an important tool in the global cultural exchange. This makes it an indispensable tool in the context of contemporary globalization processes, emphasizing the need for further research in this area to gain a deeper understanding of its potential as a means of intercultural dialogue.

THE CONCEPT OF ARCHETYPES IN THE FORMATION OF A MUSICIAN'S BRAND

Iryna Parkhomenko — Fri, 27 Dec 2024 22:09:32 +0200

The aim of this paper is to explore the study of the formation of a music artist's brand in the context of the archetype concept, as it emerges in modern conditions, taking into account the specifics of the creative activity of the music. Research methodology. In the course of the research, a philosophical and cultural approach was used to understand the concept of archetypes according to the works of C. Jung. Additionally, a marketing approach was applied regarding the use of the archetype concept in business marketing, following the methodology of M. Mark and C. Pearson. The methods of observation and analysis were employed during the study of the creative activities of contemporary Ukrainian show business artists.
Results. In exploring the formation of a music artist's brand within the context of the archetype concept, which is increasingly relevant in modern conditions, we have developed an algorithm that allows for the creation of an artist's brand in a holistic and systematic manner. The algorithm consists, firstly, of identifying the main archetype of the artist in light of their
psychological characteristics; secondly, researching and analyzing the national features of the music market in the context of the prevailing archetypes of popular artists; thirdly, determining the values that will be conveyed to the audience through the artist's creative activities and lifestyle; and fourthly, defining the visual component of the brand and selecting the naming.
Novelty. An algorithm for applying the concept of archetypes to the branding of a musical performer has been developed.
The practical significance. The research can be directly used by artists and their teams in brand creation. In the scientific and theoretical discourse, further research may focus on the specifics of the national music market in Ukraine and the archetypes manifested by contemporary well-known Ukrainian artists.

HIGHER ART EDUCATION IN UKRAINE : CHANGES, CHALLENGES, AND FUTURE PROSPECTS (BASED ON AN ANALYTICAL STUDY BY THE KULTPRAVOFORM PROJECT WITH THE SUPPORT OF THE BRITISH COUNCIL IN UKRAINE, 2024)

Anna Yefimova — Mon, 23 Dec 2024 00:00:00 +0200

The aim of this paper is to explore the dynamics of changes in higher art education in Ukraine over the past five years (2019-2024), including the risks and challenges in the context of a full-scale war, to trace key trends, identify positive practices and fundamental problems, and outline prospects for further development.
Research methodology. The study uses 17 sources that provide us with important data on the subject matter of the article. The sources include professional publications, normative legal acts, official documents of state institutions, monitoring reports, etc. Methods of monitoring, comparison, analysis and synthesis were used.
Results. The features of the functioning of higher art education through the prism of changes in Ukrainian legislation in recent years are investigated. At the same time, positive practices that have become important steps towards improving the mechanisms of functioning of art education at the state level are outlined. Key problems that need to be solved have been identified.Among them: the general trend of marginalization of higher art education at the state level, institutional instability, gaps in legislation, lack of a long-term strategy, and financial aspects. The author emphasizes the need to modernize approaches to identifying priorities for the development of art education and improve mechanisms for effective communication of all stakeholders in order to implement qualitative changes and effective state policy in this area. The directions and prospects for further development are outlined.
Novelty. The novelty is primarily due to the chronological framework of the study. In particular, it is about the dynamics of changes in higher art education in Ukraine over the past five years (2019-2024). For the first time, these processes are comprehensively outlined in the research field.
The practical significance. The results of the study can be used to provide recommendations for improving the activities of public authorities in developing policymaking and reforming higher art education, as well as to serve as a theoretical basis for further research on this issue in the coming years.

THE GLASS ART DEPARTMENT OF THE LVIV NATIONAL ACADEMY OF ARTS: HISTORY OF DEVELOPMENT, PRESENT, AND PROSPECTS (TO THE 60-TH ANNIVERSARY OF ITS FOUNDATION)

Mykhaylo Bokotey — Tue, 24 Dec 2024 13:27:35 +0200

The article aims to study the activities of the key center for developing Ukrainian glass art in the educational, socio-cultural, and international context. It is important to emphasize that in today's realities, maintaining and continuing the millennial traditions of Ukrainian glassmaking requires special attention and considerable effort. It depends primarily on the successful work of institutions, in particular, the Glass Art Department of the Lviv National Academy of Arts.
Research methods. The methodology of the work has a complex character. It is based on a combination of the foundations of cultural, historical-typological, etymological, and art history research, making it possible to identify the
national specifics of Ukrainian glass art in the international context.
Results. This year marks the sixtieth anniversary of the foundation of Ukraine's only higher education platform to train glass artists – the Glass Art Department at the Lviv National Academy of Arts. The article deals with the history
of the department's foundation and the key factors that influenced its development. The article traces the change in the direction of educational activities due to the spread of the international studio glass movement and the active
participation of artists and teachers associated with the department. The International Blown Glass Symposium in Lviv, held in full at the department's production facility since 2013, was essential to the center's development. The article
focuses on the department's current state and the projects the team implements to support and continue the millennial traditions of Ukrainian glassblowing.
Novelty. The article is part of a comprehensive study of Ukrainian studio glass in the global context of international art practices.
The practical significance. The Glass Art Department of the Lviv National Academy of Arts is the key institution that influences the development of Ukrainian glass art and continues its millennial traditions.

ACTIVITIES OF GUITARISTS – GRADUATES OF THE LVIV NATIONAL MUSIC ACADEMY named after M. LYSENKO IN THE CONTEXT OF THE DEVELOPMENT OF UKRAINIAN GUITAR ART

Anton Sopiga — Tue, 24 Dec 2024 13:35:02 +0200

The purpose of the article is to study aspects of the activities of the most outstanding guitarists who studied in the classes of leading teachers of the LNMA named after M. Lysenko, Professor Georgy Kazakov and Associate Professor Victoria Sydorenko, and to prove the significance of their achievements in the development of Ukrainian academic guitar art.
Research methods. To achieve the set goal, a number of research methods were used: historiographical to study the stage of formation of the guitar art in Lviv; analytical and systematizing in analyzing aspects of the activities of Lviv graduates as performers, composers, participants in chamber ensembles, winners of contests; biographical for studying the directions of obtaining professional education and the chronology of activities.
The results consist in systematizing the achievements of the most outstanding graduates of the guitar classes of Georgy Kazakov and Victoria Sydorenko, in deducing the value of their comprehensive contribution to the development of academic Lviv and all-Ukrainian composer creativity, guitar solo and ensemble performance, scientific activity, and international contacts.
The novelty lies in the first attempt to systematize the aspects of the activities of Lviv graduates to deduce the value of their contribution to the development of art.
The comprehensive activities of Victoria Sydorenko are substantiated as the creator of her own guitar school.
Practical significance. The materials and conclusions of the study can become the basis for further studying the achievements of the students of the LNMA named after M. Lysenko to establish a broader panorama of the development of guitar art in Lviv and Ukraine.

LABORATORY OF MUSICAL ETHNOGRAPHY: A HUB FOR HIGHER EDUCATION STUDENT RESEARCH

Roman Dzvinka , Liudmyla Aliieva — Tue, 24 Dec 2024 13:46:31 +0200

An overview of the Laboratory of Musical Ethnography at Rivne State University of the Humanities in the Department of Musicology, Folklore, and Music Education is given in this publication. The laboratory was founded in 1979 and is an
important center for Ukrainian folk music research, preservation, and promotion. Conducting fieldwork expeditions, planning student presentations, and offering academic support are some of its main objectives.
The laboratory has a sizable library of specialist literature, student research, and audio recordings. Conducting and organizing folklore expeditions, planning student research presentations, and laying the groundwork for instructional
strategies are important activities. The laboratory contributes significantly to the preservation of cultural heritage and the advancement of ethnomusicology by supporting research, educating students, and promoting Ukrainian folk music.
The importance of the laboratory goes beyond its use in studying and teaching music. Scholars in a variety of fields, such as history, ethnology, cultural studies, and philology, can benefit greatly from its collections of audio
recordings, student research papers, and specialized literature. The laboratory helps people comprehend and value Ukraine’s rich cultural legacy by conserving and promoting Ukrainian folk music.
The article’s goals are to give a general overview of the Laboratory of Musical Ethnography’s history and specifics, outline the elements of its fund, and highlight the primary responsibilities and focal points of its work. As a result, the Laboratory of Musical Ethnography serves as a vital hub for the research, teaching, and raising of students in the Department of Musicology, Folklore, and Music Education.

«NAІVE» PAINTER NYKYFOR (EPIPHANIUS) DROVNIAK : A VIVID PHENOMENON OF THE UKRAINIAN-POLISH CULTURAL HERITAGE

Tue, 24 Dec 2024 00:00:00 +0200

The aim of the paper is to analyse the complex life path of the self-made «naïve» artist Nikifor (Epiphanius) Drovniak (1895-1968) from the town Krynytsia in Lemkivshchyna, to identify certain thematic cycles of his work.
Research methodology. The research used the historical method to study the historical circumstances, biography, cultural and social environment that influenced the formation of Nykyfor Drovniak’s work. The comparative method allowed us to identify unique and common features of the naive painter’s work. The art historical analysis contributed to the study of the author’s artistic techniques, as well as the study of symbols, images and themes used by Nikifor in his works. The methods of analysis and synthesis help to critically comprehend the available literature on the research topic. The method of generalisation allows, on the basis of analysis and synthesis, to formulate general conclusions about the phenomenon of Nikephoros as a representative of naive art.
Results. Having not even received a primary education, having never learned to draw, having no idea about the examples of world art, not knowing the classical painting technique, but possessing an innate absolute sense of colour and artistic intuition, N. Drovniak developed his own painting techniques, original methods of colour rendering under the impression of the original nature of his native land, icons of churches, and folk traditions of architecture of Lemkivshchyna.
The talent of a genius self-taught artist was discovered in 1930 by Lviv artist R. Turin. In the last few years of his life, Nykyfor received full recognition thanks to the Krakow art historians Ella and Andrzej Banach. Nykyfor Drovniak is a vivid representative of primitivism as a trend in art. Exhibitions of his works were held in the most famous museums in the world – in Warsaw, Amsterdam, Paris, Kyiv, Rome, New York, London, Lviv, Florence and many other cities. In Ukrainian art
criticism, Nykyfor is regarded as a Lemko painter of naive realism, deeply connected with the ancient Ukrainian folk-art traditions. Experiencing difficulties in communication, he depicted the world around him, which fascinated him, such as Krynytsia estates, priests and church interiors, deserted railway stations, fantastic palaces, bridges, favourite roads, himself in different roles, etc. Watercolours, gouache, and coloured pencils helped him to convey his personal feelings and everything that he could not express in words on paper. The artworks of Nykyfor Drovniak can be divided into certain thematic cycles.
The most valuable are the paintings of the 20–30 s of the twentieth century. His unique style was a combination of cubism, surrealism, expressionism and ancient Ukrainian Byzantineism.
The scientific novelty lies in the study of Nykyfor as a phenomenon that goes beyond the traditional perception of naive art and the rethinking of its role in the Ukrainian-Polish cultural context.
The practical significance. The study of Drovniak’s work contributes to the preservation and popularisation of cultural heritage, the development of education, the strengthening of intercultural relations, the support of contemporary
art, the increase of social awareness and the expansion of scientific knowledge.

UKRAINIAN INSTRUMENTAL ENSEMBLE MUSIC WITH THE GUITAR IN THE LATE NINETEENTH AND EARLY TWENTIETH CENTURIES

Bogdan Burlachenko , Olga Fabryka-Protska — Tue, 24 Dec 2024 14:15:16 +0200

The article deals with Ukrainian instrumental ensemble music with the participation of the guitar in the late twentieth and early twenty-first centuries. Several existing studies related to the chosen topic are analyzed. The classification of instrumental ensembles according to various features is presented. The features of the sound and activity of various ensembles with the participation of guitar and other musical instruments are characterized, namely the most common combinations, such as guitar and flute, guitar and violin, guitar and domra, as well as the features of unique and rare combinations – guitar and gusli, guitar and bandura. The author reviews the works of talented Ukrainian composers who wrote pieces for instrumental ensembles with the participation of guitar and other musical instruments (F. Bernat, A. Boyko, M. Vihula, H. Matviyiv, O. Herasymenko, S. Hrytsayenko, E. Milka). The significant achievements of some outstanding guitarists-performers (A. Ostapenko, Y. Shutko) are mentioned.
Examples of creative instrumental groups with the participation of the guitar in the cultural space of Ukraine are given, their creative and performing activities are characterized (duets: «Duetto Concertante», «Flautando», duet of Ivan
Lysytsia and Olga Kyselova, «Frumin & Galaydyuk», duet of O. Herasymenko and Ichiro Suzuki, duet of R. Hrynkiv and Eldy Meola, «Taina», duet of L. Sakharova and E. Shtepa; trios: «Classic+»; quartets: Instrumental quartet of K.
Sokolov, S. Melkunov, K. Genel, G. Weinbaum; ensembles with a large number of participants: ensemble of M. Kochetkov, V. Trukhachev, V. Lomov, N. Shaykhlislamov, I. Kantyukov, V. Timashov, E. Ryaboy, A. Burov, I. Yurchenko, and V. Khrenov, «Native Tunes», the folk amateur instrumental ensemble «Watercolors», «Bandura Plus», and the folk amateur group «Nadiya»). In addition, the author analyzes the musical activities of Ukrainian orchestras featuring the guitar (Ukrainian Folk Orchestra of Ukrainian Radio and Television). The importance of guitar ensembles for the development of guitar art and cultural heritage of Ukraine is emphasized.

CREATIVE PORTRAIT OF LARISA PANOVA : A CULTURAL ASPECT (DEDICATED TO THE 60TH ANNIVERSARY OF THE BIRTHDAY)

Tetyana Slyusarenko — Tue, 24 Dec 2024 14:44:56 +0200

The peculiarities of the creative activity of Larisa Panova – a bandurist-performer, a teacher-methodist of Kharkiv B.M. Lyatoshynskyi Music Vocational College, organizer and artistic director of the folk music ensemble
«Slobozhanochka» as a symbolic figure in the modern bandur art not only of Kharkiv region, but also of Ukraine of second half of the 20 – beginning of the 21st century. Her example proves the importance of the activities of teachers of
primary and secondary levels of professional music education in the process of formation of a future performerbandurist, which affects the determination of the trajectory of its further development. An attempt was made to outline
the creative portrait of Larisa Panova in the context of performing and teaching activities through the prism of the cultural aspect (orientation on the establishment of spiritual values in society, popularization of Ukrainian art in general
and bandura performance in particular, self-realization through a vocation to teaching activities, personal and collective reflection of musical existence in the socio-cultural spaces). The specifics, prerequisites and regularities of the
formation of Larisa Panova's performance role are traced, which is based on musical expressiveness as a result of technical perfection of artistic and sound creation, experimentation and careful selection of «her» repertoire. The focus
of her first performing and later teaching activities on the formation of the bandurist's musical thinking as the ability to spiritually and practically master cultural reality and the unique experience of one's own interpretation of the composer's
idea is proven. The specifics of the interaction between teacher Larisa Panova and modern composers have been revealed, as a result of which expressive means are rethought, new performance techniques transpire and experimental
timbre-sound perspectives emerge. It has been found that Larisa Panova has a powerful potential as a methodologist, and her theoretical and methodological developments are relevant and progressive. It has been proven that Larisa
Panova's organizational and cultural educational activities contribute to the intensification of Kharkiv region bandura performance and its active popularization among creative youth, which has nationwide educational significance.

SONG UNIVERSE OF IRYNA KLISH

Oleksandra Nimylovych — Tue, 24 Dec 2024 14:52:48 +0200

The creative path and pedagogical activity of the Ukrainian singer and teacher Iryna Klish, who worked at Drohobych Ivan Franko State Pedagogical University for more than forty years (1977-2021) are revealed. She performed as a solo performer and as part of various ensembles and as a soloist of choral groups («Legend», «Beskid», «Gaudeamus», «Drohobytskyi Boyan», «Oranta», «Vidlunya»). The artist's activities had a significant impact on the development of Drohobych's musical and educational life at the turn of the 20 th and centuries. Achievements in education at the Kharkiv I. P. Kotlyarevsky Institute of Arts (today – Kharkiv I. P. Kotlyarevsky National University of Arts), especially in the class of the famous professor Tamara Veske (1914-2005). The singer's repertoire, rich in opera arias, chamber vocal works by Western European and Ukrainian composers, folk songs, works written especially for the singer or performed by her for the first time since their creation, was analyzed. The panorama of cooperation of I. Klish with famous composers, groups, touring trips is revealed. The work of I. Klish in the field of intensive pedagogical activity is highlighted and the range of her scientific interests is revealed. It was established that the leading thematic direction of scientific publications by I. Klish became the study of creativity of famous Ukrainian singers.
The research methodology on a comprehensive approach based on cultural-historical, chronological and musicalanalytical methods in highlighting the characteristic features of the artist's artistic activity. The scientific novelty of the research
consists in the introduction of little-known pages of the work of the singer Iryna Klish into Ukrainian musicology. For the first time, an attempt was made to collect and analyze information about the training of the artist, her concert and tour palette, a significant repertoire list, peculiarities of interpretation of works, cooperation with famous composers, groups and soloists.
The purpose of the publication is to represent the creative, pedagogical and musicological achievements of the famous singer, pedagogue Iryna Klish in the course of the development of her artistic talent. The practical significance.
The need to research the creativity of the singer and pedagogue is due to the need to cover and reveal the whole panorama of the Ukrainian musical art of Drohobychchyna in the last third of the 20th – the first twenty years of the 21
st century and to reveal the trends of its development in connection with the singer's important anniversary.

DEVELOPMENT OF MODERN POP VOCAL METHODS IN THE CONTEXT OF INTERCULTURAL COMMUNICATION

Maria Stokolias — Tue, 24 Dec 2024 15:36:38 +0200

The purpose of the article is to determine the prospects and vectors of professionalizing Ukrainian pop vocal performance in the context of integration processes in modern pop vocal pedagogy.
The methodological basis of the research includes the works of prominent scholars and practitioners such as Seth Riggs, Jo Estill, Lilli Lehmann, Kristin Linklater, Yvonne Rodd-Marling, Catherine Sadolin, as well as studies by
Ukrainian researchers like Nataliya Drozhzhina, Valeriy Otkydach, Yaroslava Kushka, Lyudmyla Prokhorova, and Nataliya Folomieieva.
The results of study confirmed that the systematic adaptation and integration of leading global pop vocal methodologies into Ukrainian pedagogical practice can significantly improve the quality and specificity of pop vocal education, considering the phonetic and stylistic features of the Ukrainian language.
The novelty of this study lies in the detailed analysis of modern global methodologies for pop vocal teaching and their adaptation to the specific needs of Ukrainian pop vocal performers, which includes incorporating national phonetic
and cultural characteristics.
The practical significance of the study is reflected in its potential to develop and improve Ukrainian methodologies for teaching pop vocals, providing teachers with tools to adapt leading global techniques to the needs of Ukrainian performers and educational institutions.

MARCEL PROUST «AGAINST SAINT-BEAUVAIS»: CONTRADICTIONS OF THE BIOGRAPHICAL METHOD

Svitlana Kholodynska — Tue, 24 Dec 2024 15:42:53 +0200

The object of the theoretical analysis is Marcel Proust's unfinished book «Against St. Beauvais», some details of the writer's preparation for writing the seven-volume novel «In Search of Lost Time» are traced. Attention is focused on
the figure of Honore de Balzac, whose creative and life path was one of the cornerstone factors in the process of arguing the principles of the biographical method.
It is emphasized that Marcel Proust was working on the book during the years when avant-garde art began to emerge in France. At the beginning of the twenty-first century, the period of summarizing the pros and cons of the postmodern art practice, the influence of certain avant-garde trends on the aesthetic and artistic pursuits of not only the «post» but also the «meta» modernists became apparent.
The purpose of the article is to focus on the contradictions of the biographical method revealed by the author of the novel «In Search of Lost Time», a concept that is actively used in the field of Ukrainian humanities, based on the theoretical potential of Marcel Proust's book «Against Saint-Beauvais».
Research methodology. Based on the interdisciplinary principle, the issues raised in the article are examined using the problem-conceptual, comparative, and biographical approaches.
The actual importance of the problem lies in the possibility of applying the potential of the cultural approach to the creative search situation that developed in France at the turn of the nineteenth and twentieth centuries and moving on to a consistent detailing (even nuancing) of this period.
Conclusions. The material presented in this article gives grounds to assert that M. Proust's study «Against St. Beauvais» has not only literary but also cultural significance, significantly expanding the idea of the research space of French humanities at the turn of the nineteenth and twentieth centuries. By focusing on the attitude of S.-O. de Saint-Beauvais, the author of the biographical method, to the life and creative path of O. de Balzac, the author reconstructs both different
approaches and possible interpretive modeling of the work of a particular writer using the principle of «biographism».
In this regard, both M. Proust's assessment of the «biographical method» of S.-A. de Saint-Beauvais and the purposeful personalization of writers become clear. O. de Balzac, J. de Nerval, S. Baudelaire, G. Flaubert are analyzed as authors whose works should be compared with those of the early twentieth century writers.
Prospects for further research. In the future, we plan to continue researching the French avant-garde of the turn of the nineteenth and twentieth centuries.

CULTURAL ASPECT OF RESEARCH AND INTERPRETATION OF THE GENRE «FIELD» OF UKRAINIAN MUSICAL FOLKLORE TRADITIONS

Bogdan Vodianyi, Anatolii Bankovskyi , Borys Repka — Tue, 24 Dec 2024 00:00:00 +0200

The article deals with the phenomenon of genre memory of Ukrainian musical folklore, which is truly unique.
However, musical folklore appears monolithic only from a certain time distance, when it is possible to comprehend it as a mentally saturated folklore space.
Research methodology. In fact, musical folklore consists of a number of separate phenomena, facts, often ordinary, rarely artistically unique and not reproducible in the offspring, but this does not diminish the need to apply a phenomenological and cultural approach to their study.
Results. It is important to realize that folk artifacts are preserved in the national cultural memory as an artistic standard under the guise of a certain genre form as a tradition. And these are significant traces of the multidisciplinary
sphere of traditional folk culture, because the artistic thinking of the people canonized the tradition itself as the basic principles of meaning and form creation that remain stable for a long time and shine through in historically distant
variants. Consequently, musical folklore is generally characterized by a focus on a certain model – stable genre formations and content standards, which, as a product of folklore traditions, are enshrined in the concepts of genre type
and generalized in the collective concepts of plot fund, musical and intonation thesaurus etc.
Novelty. The intention to study the genre field of musical folklore in a culturally oriented way naturally actualizes the issue of adequate methodological orientation – such conditions when the topic of the specifics of folklore
thinking reaches the The practical significance. The widespread practice of studying folklore and ethnographic reality in the form of analytical study of the reliability of a single folklore fact is evidence of the algorithms for its processing by
the method of statistics. Against this, the author advocates an analytical methodology for the reconstruction and interpretation of folklore thinking as a significant component of the subject-reflective environment of culture in the
features of artistic language and general knowledge about the universe.

MODIFIED AND STABLE ELEMENTS OF MALANKA SONGS IN THE CONTEXT OF THE MALANKA RITE

Iryna Romaniuk — Tue, 24 Dec 2024 15:58:09 +0200

The purpose of the article is to examine the time-spatial vectors of movement of Ukrainian musical folklore, in particular malanka songs through the prism of S. Hrytsa's concepts and our own analytical observations.
Research methodology. Ethnomusicological studies by S. Hrytsa, A. Ivanytskyi, B. Lukaniuk, and a number of others devoted to the problems of transformation of Ukrainian musical folklore were considered. The main basis of the
study was the author's own expeditionary recordings to the village of Sydoriv, Ternopil region, which is located within the Dniester area of the Malanka rite.
Conclusions. The time-spatial vector of Malanka songs from the moment of their origin to the present day has gone through a long way of development and modification. The local traditions of the village of Sydoriv have demonstrated the
stability of the Malanka rite over a period of almost a century, while retaining their own unique elements. Nevertheless, the rhythmic structure of the poem and the intonation formula remained unchanged through the centuries, and new relevant and more understandable texts were strung on it over time. The above studies confirmed S. Hrytsa's opinion about the variability of the text and the stability of the tune of Ukrainian musical folklore.
Novelty. The malanka songs of the studied village in the ethnomusicological discourse are included in the research and the prerequisites for the variability of the plots with the replacement of tradition with the actual theme of the struggle for the freedom of Ukraine, which forms the national and cultural identification of the younger generations, are traced.
Practical significance. The materials presented in the article can be used in pedagogical activities in classes on musical folklore, local history and performance practice of folklore groups.

ANTHROPOLOGICAL FOUNDATIONS OF THE STUDY OF UKRAINIAN ART CULTURE AS A PHENOMENON OF WORLD CULTURE

Tetiana Kornisheva — Tue, 24 Dec 2024 00:00:00 +0200

The article analyses the main factors that influenced the understanding of the peculiarities of the implementation of the Ukrainian mentality in art culture in the historical projection. The research provides an understanding of anthropological factors and processes, which makes it possible to generalise the idea of the human model and the world model, and to define the concept of the cultural genetic code.
Methodology. The anthropological foundations of the study of Ukrainian art culture as a phenomenon of world culture allow us to come to an understanding of the specifics of the processes by which certain artifacts embody the model of the
world and the image of a person inherent in a particular national culture. The idea of a human model and a world model is generated in samples of art culture, including folk and professional culture, in the form of a kind of art genetic code, the
definition of which requires decoding and interpretation. In our opinion, the concept of the art genetic code should be considered on the basis of the idea of the genetic code of a nation, which is extremely popular today. The genetic code of
Ukrainians includes the language, the embroidered shirt «Vyshyvanka», the headscarf, and even the indomitable spirit of struggle. Similarly to the genetic code of a nation, which is embedded at a deep psychological level and is constantly reflected in many aspects of the life of the nation's representatives, embodying its main axiological principles, the art genetic code is represented in artistic examples and through the means of artistic expression models the artist's way of seeing the world and his or her system of values. The artist himself, whether collective or individual, reflects in his works the world model that exists in the social environment of a certain nation and a certain historical period. However, as in the genetic code, these representations are stable, slow-moving, and change very slowly in historical projection under the influence of significant social and cultural events, social disasters and explosions, revolutions, or other upheavals. In general, the artistic and genetic code embodies the national mentality and is based on national archetypes, so it is worth looking for the embodiment of the archetypes of the national mentality in the texts of art culture.
Scientific novelty. The content of Ukrainian art culture in the historical projection in the context of anthropological principles appears as a kind of art and genetic code, which, like the genetic code of the nation, is embedded at a deep
psychological level and is represented in art examples. Through the means of artistic expression, the art genetic code models the artist's worldview and system of values. With this approach, a musical work appears as a reflection of the world model that exists in the social environment of a certain nation and a certain historical period. At the same time, the art and genetic code is the embodiment of the national mentality based on national archetypes, which, in turn, are embodied in musical texts.
Results. Thus, the study of the peculiarities of the mentality of a particular nation provides answers to a number of questions about understanding the processes of the past, awareness of the events of the present and forecasts for
future development. The slow change of mentality allows it to be imprinted in the samples of art culture, in particular, literature, fine arts, music and in the emotional form of communication with contemporaries and descendants. A person
socialized in a particular national culture absorbs its main archetypes, so his or her personal mentality embodies the mentality of the nation, rooted in the subconscious depths of its psyche.

UKRAINIAN ART HIGHER EDUCATION INSTITUTIONS : WAYS OF ACCUMULATING AND PRESERVING CULTURAL CAPITAL

Svitlana Shman — Tue, 24 Dec 2024 00:00:00 +0200

The article examines the role of Ukrainian art higher education institutions (hereinafter – universities) in the formation of the nation's cultural capital. Their significance as centers of formation of creative potential of youth is considered. Special attention is paid to educational, project and scientific activities of art universities, as well as their role in spreading modern trends in pop, music and circus arts. As examples of the enrichment of cultural capital by means of project-project activity, the projects of the Kyiv Municipal Academy of Variety and Circus Arts, namely the art project «Circle» (2021) and the music-circus show «Manifesto» (2024) are cited. The purpose of the study is to characterize the role of Ukrainian art universities in the formation of cultural capital and to investigate ways of its accumulation and preservation. Research methods. The research is based on the interdisciplinary integration of methods of modern philosophy, cultural studies and art studies, including: typological, comparative-historical, analytical and informational, to determine the characteristic features of cultural capital in the cultural and artistic sphere. Scientific novelty. of the obtained results consists in determining the role of Ukrainian art universities in the formation of cultural capital and its reproduction through participation in creative projects, which can be called a powerful tool for the formation of incorporated cultural capital, which ensures personal growth, development of skills and cultural identity, promotes socialization and provides new professional prospects. Conclusions. The most intensive and productive accumulation of cultural capital occurs in art universities, when the potential of students is established. The accumulation of cultural capital is influenced by many factors: the educational environment, the atmosphere of higher education, material and technical equipment. Educational technologies and the practice of their use play one of the important components in the accumulation of cultural capital. The participation of art university students in creative and scientific projects is an important mechanism for the accumulation and realization of their cultural capital. It allows young people to develop creative abilities, social connections and skills necessary for successful integration into society. Creative projects are the environment where cultural capital is not only accumulated, but also realized through practice, social interaction and self-expression.

TRANSFORMATION OF BUSINESS CULTURE UNDER THE INFLUENCE OF GLOBALISATION: VALUES, CHALLENGES AND DIGITAL OPPORTUNITIES

Anastasiia Tormakhova, Dmytro Tovmash — Tue, 24 Dec 2024 00:00:00 +0200

The aim of the article is to study the impact of globalization and its consequences, namely the spread of mass culture and the development of Internet technologies, on the transformation of business culture.
Research methodology. The study reviewed eight major publications on the subject, including scientific journals, books, and reviews. The information obtained was used to analyse the influence of globalisation and Internet technologies on the transformation of business culture.
Results. The study reveals the intricate dynamics of globalisation’s impact on business culture, showcasing its dual role in driving both integration and differentiation. The findings underscore the critical importance of balancing global standards with national values, emphasizing that cultural identity remains a vital component of successful business operations. The research highlights the transformative role of digital technologies, particularly blogs and social media, in fostering transparency, innovation, and engagement. Moreover, it identifies challenges in harmonizing ethical standards and integrating diverse cultural values in multinational environments.
Novelty. This article offers a novel perspective on the interplay between globalisation and business culture by integrating the concepts of mass culture, digitalization, and the «common good» into a unified framework. Unlike previous studies, it delves deeply into how modern technologies, such as interactive feedback mechanisms, can bridge cultural gaps and redefine traditional business practices. The research also expands on the philosophical underpinnings of values-based business behavior, presenting a comprehensive model that incorporates both ethical considerations and practical applications in a globalized economy.
The practical significance. The findings of this study are directly applicable to multinational companies, policymakers, and cultural strategists. Businesses can leverage the insights to design more inclusive strategies that integrate global best practices while preserving cultural identity. The emphasis on values such as trust, responsibility, and the common good provides a framework for building ethical and sustainable business models. Additionally, the practical application of digital tools to enhance communication and innovation offers organizations a roadmap for adapting to rapid technological advancements and increasing customer engagement. These contributions are particularly relevant in addressing the challenges posed by globalisation and fostering resilience in a rapidly evolving global market.

DIGITAL FOOD CULTURE:CULTUROLOGICAL ANALYSIS EXPERIENCE

Taras Kalabura — Tue, 24 Dec 2024 17:08:18 +0200

Modern processes of knowledge production and power struggles around the world link food and digital culture, giving cultural studies scholars reason to pay attention to the differences, parallels, and overlaps between food and digital products.
Culturological analysis of digital nutrition is being done in particular with the purpose of detecting its impact on everyday life. It is affirmed that the culture of nutrition in the digital era focuses on the questions of power and inequality, and it is
displayed on the everyday politics of the digital nutrition with the corresponding social, economic and ethical consequences. The article highlights the key issues, introduces the concepts and theoretical debates that drive this research.
Besides, the impact of COVID-19 on food culture is examined, which has exposed and in some cases even exacerbated existing inequalities in the accessibility, socialization and economics of food. Indeed, the existential proximity between food
and digital culture cannot be overstated. Digital technologies today have a significant impact on the entire life cycle of food, from production to consumption, representation, and everything in between. From robots, drones, and artificial intelligence tools that help farmers monitor crops and livestock health. The article also examines the issues of gastronomic tastes, culinary authority, body image, and the public' s everyday interactions with food and its consumption through the prism of feminist discourse and critique of neoliberal capitalist cultural policy.

BUSINESS ETIQUETTE: NATIONAL SPECIFICS OF NON-VERBAL COMMUNICATIVE BEHAVIOR IN A MULTICULTURAL SPACE

Lidiya Prokopovych, Alla Morgun, Ігор Задорожний, Yaroslav Bohiv — Tue, 24 Dec 2024 16:49:26 +0200

An overview of publications in which non-verbal communication is investigated is given. The influence of cultural differences on non-verbal communication is considered. Kinesics are described: gestures, facial expressions, body language, and
other visual cues that are an important part of human interaction. Cultural differences in facial expressions and facial expressions are analyzed. Cultural differences in the spatial aspect: proxemics are characterized and it is proved that the distance between communicators is an idioethnic feature. It has been found that varieties of non-verbal communication contain cultural values and norms of certain peoples, which diversify the communicative act and improve the quality of verbal communication.

CULTURE IN THE AGE OF INTERNET TECHNOLOGIES: COMMUNICATIVE SPECIFICITY OF INNOVATIONS

Viktoriia Okhrymovych — Tue, 24 Dec 2024 17:15:23 +0200

The aim of the article is to analyse the specifics of communicative innovations in the age of Internet technologies and to explore their impact on cultural processes.
Results. By studying the socio-cultural context of the adaptation of traditional correspondence formats to digital ones, it was possible to highlight the processes of transformation of communicative interaction in a comparative analysis of cultural languages and modes of communication presented in correspondence as an epistolary genre or classical works of literature and in digital messages of modern Internet communication. Accordingly, it should be noted that despite its significant benefits, AI changes the fundamental basis of human communication and cultural exchange.
Research methodology. The following methods were used in the study: theoretical analysis of scientific sources on the research topic, systematization, classification, comparison, cultural, semiotic and semantic analysis,
generalization of the analysed data, and experiment.
Novelty. The novelty of the research includes the clarification of influence and a significant impact of AI tools and communication innovations in the Internet age on the course of socio-cultural processes.
The practical significance. The obtained result makes it possible to understand that textual creation contributes to the preservation of collective memory, as written texts (e.g., letters, works of art) convey the experience of previous
generations to descendants and reveal elements of the cultural context of a particular era. When AI takes over this process, this connection with cultural heritage becomes mechanical, deprived of individual memory, which can devalue
the importance of texts in transmitting cultural identity, and thus negatively affect the mechanisms of socio-cultural heritage and the formation of collective memory.

THE DEMOCRATIC POTENTIAL OF ICON THEORY

Tina Mosiakina — Tue, 24 Dec 2024 17:21:33 +0200

The relevance of the topic lies in the vulnerability of the democratic values of Christian European civilization, which today are subject to new challenges. The author explores one of the roots of the value of each individual and human rights: the theory of the icon. Deriving an analogy between the image of God and its prototype, we see that in Orthodox culture personalism and attention to every human creature are affirmed.
The scientific novelty is revealed in the relationship between the static and dynamic parts of icon theory and kenosis and theosis.
Among the research methodologies, philosophical analysis, phenomenology and cultural analysis are applied.
They are used to determine the influence of the theory of the icon and its implications on the development of a specific personalistic Orthodox worldview.
The practical significance of the work lies in the assertion of human-centered democratic values and the finding of new sources in the Ukrainian Orthodox ecumene.

ПРЕЗЕНТАЦІЯ КУЛЬТУРИ СПОЖИВАННЯ ВИНА В ЗАХІДНОЄВРОПЕЙСЬКОМУ КІНЕМАТОГРАФІ

Анастасія Барняк, Маргарита Коробко — Tue, 24 Dec 2024 17:28:03 +0200

Тема вживання алкоголю глибоко вкорінена в людському житті. Вино втілює культурні символи, сімейні традиції та аспекти особистої ідентичності. Кінематографічне зображення алкоголю, безперечно, формує індивідуальне сприйняття, оскільки кіно відображає суспільні настрої, а також формує нові реалії, які резонують з аудиторією. Кіно. як багатогранний медіум. віддзеркалює суспільні реалії та формує альтернативні. Його символічна сила перетворює звичайні практики, такі як споживання вина, на потужні культурні та наративні інструменти. Вино, універсальний символ розкоші, насолоди та соціального статусу, слугує як сюжетним засобом, так і персонажем світового кінематографу, відображаючи ставлення до алкоголю в різні епохи. Спираючись на аналіз праць Х. Ортеги-і-Гассета, кінематографічний символізм вина коливається між єднанням людини з природою, божественним святом і моральною деградацією. Двоїста природа вина, що символізує радість і розчарування, робить його переконливим кінематографічним елементом. Від сприяння єдності в ідилічних ситуаціях до каталізації конфліктів і викриття екзистенціальних істин, вино залишається відображенням людської культури.

MOBILE APPLICATIONS AS A TOOL FOR CULTURAL EDUCATION AND PRESERVATION OF NATIONAL IDENTITY ABROAD

Nataliia Dobroyer — Tue, 24 Dec 2024 00:00:00 +0200

The article examines the important role of mobile applications in the context of cultural education and the preservation of national identity for Ukrainians living abroad. In the face of globalization and migration processes, where national and
cultural characteristics may be at risk, mobile technologies become a powerful tool for maintaining a connection with cultural heritage and language.
The relevance of this research is determined by the modern challenges faced by diasporas and the need to implement innovative solutions to address issues of cultural adaptation and integration. The article discusses specific examples of mobile applications that help users not only learn the language but also delve into the cultural traditions, history, and customs of Ukraine.
The novelty of the research lies in the systematization and analysis of existing applications, as well as in identifying their impact on the formation of identity among users. One of the key aspects of the study is an experiment conducted in Poland, where data was collected on how Ukrainians use mobile applications for language learning and cultural identity preservation. The results of this experiment indicate that mobile applications not only facilitate language education but also create platforms for cultural exchange and communication among Ukrainians abroad.
The study emphasizes that mobile applications can serve not only as educational platforms but also as tools for preserving and developing the cultural identity of Ukrainians living abroad. Furthermore, the article offers recommendations for the further development and adaptation of such applications, which can be beneficial for both developers and organizations working with the Ukrainian diaspora.
Thus, the article contributes to the discussion on cultural policy and educational technologies, highlighting the importance of digital solutions in maintaining cultural connections and identity in the context of globalization.

THE INCULTURATION AND ADAPTATION OF UKRAINIANS IN EUROPE AFTER THE FULL-SCALE RUSSIAN INVASION :MAIN TRENDS AND CHALLENGES

Oleksii Korzhov — Tue, 24 Dec 2024 17:43:33 +0200

In the article is analyzed the main trends and challenges related to the adaptation and inculturation of Ukrainian citizens in refugee status in Europe after the full-scale russian invasion. The analysis found that after the events of February
24, the EU created a certain regulatory framework that for many months provided a legal basis for the stay of temporarily displaced persons from Ukraine in the EU, as well as an appropriate basis for adaptation and inculturation. The unique
situation of Ukrainian migrants is that many of them were de-jure integrated in many European countries in the first weeks and months of the war, and the actual adaptation of these people took place after they received the right to temporary
residence. It is established that most of the data on the problems of temporarily displaced persons from Ukraine are published in various international reports, sociological studies and journalistic materials. It should be noted that a full-fledged
sociological analysis of the environment of migrants from Ukraine is currently difficult. The study revealed the qualitative characteristics of migrants (refugees) in compact settlements as a new group that interacts with various local authorities and civil society in EU countries to establish communication for successful inculturation. There is evidence that the russian federation's war against Ukraine has mobilized a large number of Ukrainians living outside their country to support Ukraine. They were gradually joined by some migrants who integrated into the respective Ukrainian communities in different EU countries. Many of these communities have established their own civic organizations, foundations, unions, and associations for mutual assistance and support of Ukraine and Ukrainians.

CULTURAL AND MYTHOLOGICAL INTERPRETATION OF E. PRIGOZHIN'S MARCH BY UKRAINIAN MEDIA

Oles’ Dovhanyk — Tue, 24 Dec 2024 00:00:00 +0200

Purpose of the research – to reveal the cultural and mythological images available in the Ukrainian information field regarding the march of the head of the Wagner PMC.
Research methodology. The research methodology is based on general scientific and specialised methods or approaches. The general scientific methods include the following: psychoanalytic, discourse analysis, analytical psychology, critical analysis. Specialised methods include mythopoetics and the mytho-restoration approach. This scientific and methodological toolkit contributed to the understanding of the discourse of the Ukrainian mass media regarding the march of E. Prigozhin and allowed to metaphorically interpret this event through the prism of the Oedipus myth.
Results. The article demonstrates the multiplicity and multifaceted nature of the concept of “myth”. It is established that the modern political myth represents universal images inherent in the primary cosmological myths. It is determined
that the political myth is a synthetic construct that encompasses ideology and elements of sacred myths at the same time. It is revealed that the Ukrainian mass media, referring to the reaction and discourse of Ukrainian politicians, have formed the following idea about E. Prigozhin's march: its consequence will be a change in the status of russia and the political regime; russia's self-destruction is caused by Ukraine's activities. It is found that E. Prigozhin's march reflects the following mythological aspects: Oedipus‘ exile as far as possible from Thebes; Oedipus’ destruction of his father's state; the presence of a medium or oracle who warns against the consequences of Oedipus' activities; the desire for patricide. It is identified that the common features of E. Prigozhin's march and the centaur are aggression, cruelty, animalism, and propaganda of deception. It is determined that the common characteristics of wagnerians and their leader with a werewolf are their variability and impermanence. Novelty. The novelty of the study lies in the establishment of a symbolic and associative connection between the march of E. Prygozhyn and the myth of Oedipus. For the first time, the symbolic and cultural image of E. Prigozhin was revealed in the context of the following mythological creatures: centaur, dwarf, werewolf.

TRANSFORMATION OF UKRAINIAN HUMOROUS NARRATIVES DURING THE WAR (2022–2024)

Oleksandr Avdeiev — Tue, 24 Dec 2024 00:00:00 +0200

The aim is analyse the transformation of humorous narratives of Ukrainians during the war of 2022-2024, to determine their role in adaptation, changing public attitudes and thematic priorities during the prolonged crisis.
Research methodology. The study is based on two waves of online surveys (2022, 2024) distributed through social networks Instagram, Facebook, X (formerly Twitter). Participants were asked to answer an open-ended question: “Do you have a favorite joke? If so, which one/s?”. The answers were categorized into: consolidating, dividing, everyday and undefined jokes. These categories were developed based on Rod Martin's humor styles.
Results. In 2022, consolidating humor dominated (70.68%), playing a key role in uniting society, reducing fear,
and emphasizing national resilience through the mechanism of decatastrophizing. Memes about Chornobaivka, HIMARS, and a «Russian warship» emphasized the strength of Ukrainians and the ineptitude of the enemy. By 2024,
the share of consolidating jokes decreased to 9.21%, while everyday humor increased to 26.32%, demonstrating society's adaptation to the war and focus on everyday topics. The share of divisive jokes increased to 5.26%, indicating internal social tensions and criticism of internal groups such as the government or allies. Novelty. The study offers a new perspective on humor as a tool for adaptation to extreme conditions by applying the concepts of humor styles to the military context. The results reveal how humor changes functions from maintaining collective identity to focusing on everyday challenges and critical reflection.
Practical implications. The findings highlight humor as an effective mechanism of socio-cultural adaptation, a way of emotional relief and maintaining cohesion in times of crisis. These results are important for understanding the
dynamics of changes in public attitudes and can be used in studies of social adaptation, psychological resilience, and cultural narratives in crisis situations.

THE IMPACT OF MUSIC PRODUCTION ON THE DEVELOPMENT OF THE FILM INDUSTRY IN THE 1920–1930 s

Mykola Pavlov — Tue, 24 Dec 2024 00:00:00 +0200

The article is dedicated to the influence of music production on the development of genre, technological, and stylistic features of cinema during the transition from silent to sound films in the 1920–1930 s. The purpose of the article is to
investigate the role of technological advancements in music production in transforming cinema, particularly its contribution to the emergence of new genres, such as the musical film. The research methodology involves the analysis of historical, technological, and cultural sources that highlight the integration of music and sound effects into cinematic practice, utilizing an interdisciplinary approach. The scientific novelty of the research lies in conducting a comprehensive analysis of how advancements in sound recording technologies and the introduction of film music shaped the audiovisual language of cinema. The study concludes that music production played a key role in synthesizing technical, aesthetic, and narrative solutions in cinema, transforming it into a more dynamic and expressive art form. Technological innovations, such as playback, postsynchronization, and sound design, not only redefined the structure of film narratives but also expanded the emotional potential of audiovisual art. The prospects for further research include exploring the interdisciplinary role of music production in creative industries, as well as its impact on animation, theater, multimedia, and modern audiovisual production technologies. Moreover, future studies could examine the collaboration between artists and engineers that led to technological breakthroughs, reshaping the cultural and aesthetic landscape of contemporary media.

A REMAKE IN THE DIGITAL AGE. TRANSFORMATION OF PERSON AND PERSONALITY

Nataliia Shevchenko — Tue, 24 Dec 2024 00:00:00 +0200

The article explores the concept of remake as a transformative strategy in contemporary art. The collaboration of the artist and artificial intelligence, which is a new tool of generative creativity in the digital age, creates irreversible
changes in art and actualizes the issues of intellectual property, authenticity and cultural appropriation. Remake is considered more broadly and reinterpreted as a transformative technology that is included in the creation of a person’s
digital identity in virtual space. The phenomenon of a digital copy of a person, the use of which in the media environment leads to uncertain consequences, is analyzed.

SELF-PUBLISHING AS A FORM OF CREATIVE EXPRESSION AND INDEPENDENT PUBLICATION IN UKRAINIAN PHOTOGRAPHY IN THE 2010S-2020 S

Robert Dovganych — Tue, 24 Dec 2024 20:10:58 +0200

Problem Statement and Relevance of the Study. The study addresses the phenomenon of photographic selfpublishing in the Ukrainian context during the 2010 s-2020 s as a significant tool for creative expression and independent publication. The research is relevant due to the need for theoretical understanding of self-publishing as a fundamental artistic position that ensures creative process autonomy and independence from institutional constraints. This phenomenon has significantly influenced the formation and development of contemporary Ukrainian photobooks, establishing new standards for visual communication and artistic practice. A comprehensive study of this phenomenon provides deeper understanding of transformations in contemporary Ukrainian art and its role in the global cultural context.
Research Methodology. The research methodology combines theoretical and empirical approaches to examine self-publishing as a method of artistic investigation. The study draws on philosophical works about contemporary art theory while analyzing the practical manifestations of self-publishing in Ukrainian photography. The empirical research is based on a comprehensive examination of self-published works by contemporary Ukrainian photographers, focusing on their conceptual practices, creative approaches, and the material aspects of their publications. The methodology emphasizes the analysis of both the physical characteristics of self-published works and their conceptual foundations.
Results. The study reveals that photographic self-publishing in Ukraine has evolved from an alternative publication form into a full-fledged artistic method and platform for creative experimentation. The research demonstrates how self-publishing has become a space where the materiality of publication is an integral part of the conceptual design. The findings indicate a significant transformation in the role of photographers, who have evolved from image producers to multidisciplinary authors.
Furthermore, the practice has formed a new visual epistemology that successfully combines documentary approaches with conceptual art. The research also highlights how limited editions and careful attention to material implementation enhance both the collectible value of works and create unique interactions with photographic material.
Novelty. The research introduces novel perspectives on the transformation of contemporary Ukrainian photography and publishing practices. It presents an original analysis of how self-publishing has evolved from an alternative publication method to a conceptual artistic practice. The study offers new insights into the formation of a unique artistic expression space that operates independently of institutional constraints. Additionally, it provides an innovative framework for understanding the development of visual epistemology in Ukrainian photography, contributing to the broader discourse on contemporary art practices.
The Practical Significance. The research has substantial practical implications for understanding the development of contemporary Ukrainian photobooks culture and the evolution of independent publishing practices. It provides valuable insights for artists, curators, and researchers working in the field of contemporary photography and publishing. The findings
contribute to the theoretical framework for studying contemporary visual art practices and support the development of experimental approaches in photographic publication. The research also helps establish new standards for visual communication in artistic practice and offers guidance for future developments in the field of independent publishing.

RECEPTION OF THE SATYR PLAY (DRAMA) IN THE ARTISTIC CREATIVITY OF BORIS MIKHAILOV

Natalia Chekh — Tue, 24 Dec 2024 00:00:00 +0200

The aim of this research is to substantiate the influence of the ancient Greek Satyr play (drama) on the formation of the system of artistic images in the work of the Ukrainian artist Boris Mikhailov (born August 25, 1938, Kharkiv) and to identify the forms of mimesis used by the artist in his artistic activities from a historical perspective. The methods of historical-cultural and comparative analysis, along with hermeneutics, made it possible to identify and interpret selected works of B. Mikhailov, considering certain provisions of The Poetics by Aristotle (384–322 B.C.E.). Elements of the ancient Satyr play are evident in numerous works by B. Mikhailov. The artist, his relatives, friends, and others appear in photographic series, exhibitions, and publishing projects as characters engaged in playful activities.
Mimic play involving unusual clothing, imitations of Dionysus (Bacchus), Silenos, Satyrs, Pan, and other mythological figures is a significant form of play activity in Mikhailov's work.
Ancient Greek mythological, Christianized religious, and everyday motifs in the artist’s work are imbued with ambivalent grotesque-carnival laughter. This research clarifies the typology of artistic genres in the works of B. Mikhailov and his collaborators. Social dramas (or comedies, in the ancient definition) by B. Mikhailov imitate ritual plays of antiquity, where the artist creates parody doubles of symbols from world culture. ‘The Social Play’ by B. Mikhailov–encompassing satirical social dramas and everyday mimic plays–has been produced using photographic material. The artist focuses on the existential challenges of the Post-Soviet individual in the 1990 s and 2000 s. He poses a philosophical question: can humans overcome their fear of the world (external circumstances and the transcendent)?
Mikhailov's «phallic songs» and «dancing» reference fertility festivals, while his «wedding songs» oscillate between chaste «girlish laughter» regret, crying, and «funeral songs». The results of this research expand our understanding of the forms of mimesis and the system of images in Mikhailov's play activities. These insights contribute to the scholarly exploration of play as a critical aspect of artistic creativity.

VISUALIZATION OF THE HERO IMAGE IN MODERN UKRAINIAN CULTURE: THE STATE OF SCIENTIFIC DEVELOPMENT OF THE PROBLEM

Alyona Tymoshenko — Tue, 24 Dec 2024 00:00:00 +0200

The purpose of the article is the analysis of the state of scientific development of the problem of the visualization of the hero image in Ukrainian culture.
Methodology of the research is based on the applying a historiographical analysis that helps to understand the main ideas and content of the Ukrainian researchers’ works who study this problematic.
Research results. The article underlines that despite the steady interest of Ukrainian authors in this issue over the past ten years, it still requires an in-depth and comprehensive analysis. It is proved that research is ongoing and the attention of scientists is drawn to various aspects of this issue: methods and technologies for visualizing heroic images; typologies of the latter; the influence of historical and socio-cultural factors on visual practices related to the representation of the pantheon of Ukrainian heroes; the dynamics of approaches to the choice of both Ukrainian heroes and their types, as well as to the ways of their visualization.
Scientific novelty. The article first examines the specifics of the Ukrainian-language scientific discourse that has formed around the problem of visualizing the image of the hero in contemporary Ukrainian culture. The analysis of the works of Ukrainian scholars over the past ten years shows a growing interest in the problem of visual representation of the heroic, which coincided with the first attempts to conceptualize the processes of visualization in the culture of independent Ukraine and the comprehension of the visual turn in culture and cultural discourse. The interest of researchers from various fields (cultural studies, film studies, art history, historians, etc.) in this topic demonstrates its interdisciplinary status, which opens up prospects for further in-depth study of this problematic.

THE IMPACT OF RUSSIAN-LANGUAGE CONTENT ON THE CULTURAL ORIENTATIONS OF UKRAINIAN YOUTH

Sofiia Balatsko, Dmytro Sverdliuk — Tue, 24 Dec 2024 20:48:30 +0200

The article examines the impact of Russian-language content on shaping the cultural orientations of Ukrainian youth during the information war and globalization. Special attention is given to analyzing changes in young people's consumption habits following the full-scale invasion of Ukraine by Russia. The study highlights how Russian media content influences the perception of cultural values, national identity, and social attitudes among youth, who constitute the most active group of digital media users. The research methodology is based on sociological surveys, content analysis, and correlation analysis of data. The collected data indicate a significant decline in the popularity of Russian content among youth, driven by patriotic sentiments, increased trust in Ukrainian sources of information, and heightened critical awareness of propaganda. The study's findings emphasize the necessity of promoting Ukrainian cultural products, enhancing media literacy, and creating attractive alternatives to Russian content. Particular attention is given to recommendations for educational institutions and cultural organizations aimed at supporting information security and fostering a nationally oriented digital environment.

ETHNO-FESTIVAL MOVEMENT OF PRYKARPATTIA IN THE CONTEXT OF PRESERVING CULTURAL IDENTITY

Vasyl Ozorovych, Olga Fabryka-Protska — Tue, 24 Dec 2024 20:59:12 +0200

The article comprehensively presents a panorama of ethnic festivals in Ivano-Frankivsk region with a view to preserving cultural identity in the context of spiritual and artistic culture of Ukraine. It is noted that over the past decades, the development of the ethno-festival movement in Ivano-Frankivsk region has been gaining momentum, improving each time in
the organizational, professional and commercial spheres. The vast majority of such performances take place in the open air. It is emphasized that the impetus for holding art events at the local level was the international ethnofestival «Rodoslav», which launched the revival of the traditional authenticity of the ethnographic regions of Ivano-Frankivsk region and the creation of new performances, etc. The most popular ethnofestivals are briefly reviewed, including the Hutsul International Festival, «Rodoslav», «Pysanka», «Kolomyika», «Kolyada na Maislyakh», «Rizdvo v Karpatach», «Karpatatska Drumba», «Carpathian SPACE», Global Village Festival of Cultures, Vasyl Mohur Regional Hutsul Festival and many others. It is proved that the ethno-festival movement, despite the difficult realities of today in Ukraine, contributes to the preservation and popularization of traditional folk culture, educating a new generation of Ukrainians on the basis of national traditions. In addition to communication and positive emotions, the festival movement carries a mutual exchange of cultural information that promotes mutual respect and understanding between peoples. Throughout history, the ethnographic regions of Ukraine, in particular its western part, have been an inexhaustible source of authenticity. In addition to communication and positive emotions, the festival movement carries a mutual exchange of cultural information that promotes mutual respect and understanding between peoples. Throughout history, the ethnographic regions of Ukraine, in particular its western part, have been an inexhaustible source of authenticity.

ПЕРФОРМАТИВНИЙ ПРОСТІР, ГЕТЕРОСЕКСУАЛЬНІСТЬ І ЕМОЦІЙНА ЕКОНОМІКА В РЕАЛІТІ-ШОУ «ХОЛОСТЯК» ТА «ХОЛОСТЯЧКА»

Hryhoriy Reshetnyk — Tue, 24 Dec 2024 21:03:48 +0200

Стаття присвячена культурологічному аналізу зв’язку перформативності, гендеру та засад емоційної економіки в рамках реаліті-шоу «Холостяк» та «Холостячка». Вперше розглянуто саме з позиції культурологічного підходу контекст функціонування та експлуатації любовного наративу, згідно з яким створюється та функціонує реаліті-шоу «Холостяк» і «Холостячка». Підкреслюється, що особливістю реаліті-шоу та франшизи «Холостяк» та «Холостячка» є створення перформативного простору, регульованого любовним наративом, завдання якого полягає у тому, щоб, по-перше, емоційно збуджувати та мотивувати конкурсантів брати участь у цьому шоу, по-друге, підтримувати та підігрівати в глядацької аудиторії увагу до цього проєкту, і, по-третє, ринково детермінувати численні візуалізації та інтеракції, що продиктовано форматом й цілями проєкту.

DEFINITION OF THE CONCEPT OF MODERN INTERIOR DESIGN

Svitlana Kysil — Wed, 25 Dec 2024 14:43:09 +0200

The article analyses and compares existing definitions of the term «interior design» in both foreign and domestic scholarly literature with an artistic focus. It identifies the conceptual framework, highlighting commonalities and differences in interpretation. Based on an analysis of existing scientific terminology and considering contemporary needs and requirements for interior environment design, the definition of the term «modern interior design» has been refined, clarified, and supplemented. The results of this study confirm and emphasize the importance of modernizing, updating, and giving «new life» to the concept of «interior design», highlighting the necessity of its development and expansion in the context of contemporary interior art.

THE ROLE OF TYPE IN CREATING EFFECTIVE DESIGN : FONT SELECTION AND ITS IMPACT ON READABILITY

Volodymyr Yarovyi , Oksana Bieliavska — Wed, 25 Dec 2024 00:00:00 +0200

This paper aims to systematize knowledge about the role of fonts in design, to define the basic principles of font selection, and to analyze the impact of different font types on readability and text perception.
Research methodology. The research employed a methodology of systematization and ordering of scientific and theoretical material; a typological method aimed at identifying the features of font selection for creating effective design and determining their impact on readability; methods of induction, deduction, and analogy; and a comparative analysis method to identify differences between various font types.
Scientific novelty. The study investigated the role of fonts in creating effective design as a crucial component of a holistic visual image; analyzed the main approaches to font selection for ensuring text readability; identified the key factors ensuring high text readability; characterized modern approaches to text creation such as classic Swiss typography, «Swiss punk», and grunge; and presented a four-stage font selection process.
Practical significance. The material expands the information about font selection for ensuring effective design and improving the readability of textual materials in design projects.

THE TYPOGRAPHY OF THE MODERN POSTER IN THE CONTEXT OF THE SPECIFICITY OF THE SEMIOTIC DISCOURSE OF THE GRAPHIC DESIGN OF THE UKRAINIAN THEATER

Yaroslav Lanchak — Wed, 25 Dec 2024 00:00:00 +0200

The purpose of the article is to reveal the peculiarities of the typography of the poster through the prism of the peculiarities of the semiotic discourse of the graphic design of the modern Ukrainian theater.
Research methodology. The methods of analysis and synthesis, systematization and verification are applied, the conceptual-analytical method is used to form the terminological apparatus of the work, the method of comparative
analysis, the method of figurative and stylistic analysis; method of semantic and structural-semantic analysis. Scientific novelty. Peculiarities of typography as an art of design of printed text are studied. The definition of the
concept of «typography» in the context of the semiotic discourse of graphic design of modern Ukrainian theater has been clarified. The most common methods of creating theater posters in Ukraine have been revealed.
Practical significance. The material expands information on the development of modern poster typography in the context of the specifics of the semiotic discourse of graphic design of the Ukrainian theater.

CONCEPTUAL SEARCHES OF YEVHEN LYSYK IN THE CONTEXT OF ESTABLISHMENT OF NONCONFORMISM IN STAGE SPACE DESIGN

Anastasia Yermukanova — Wed, 25 Dec 2024 00:00:00 +0200

The purpose of the article is to reveal the peculiarities of the creative activity of the chief artist of the Lviv Opera and Ballet Theater Yevhen Lysyk in the context of the formation of nonconformism in Ukrainian art. Research methodology. The method of cultural-historical analysis was applied, which made it possible to consider the development trends of stage art design in the 1950-1970 s; the typological method, which contributed to the identification of the features of the manifestations of nonconformism in accordance with the specifics of the design of stage art; the functionaltypological method, which contributed to the identification of the specificity of nonconformism in the artistic decisions of E. Lysyk; the method of art history, figurative-stylistic and formal-stylistic analysis of the design of the stage space of performances developed by Yevhen Lysyk on the stage of the Lviv Opera and Ballet Theater and others. Scientific novelty. Peculiarities of the creative activity of the chief artist of the Lviv Opera and Ballet Theater Yevgeny Lysyk in the context of the formation of nonconformism in Ukrainian art are studied. The specificity of the manifestation of nonconformism tendencies in the artist's scenography is revealed; on the basis of the analysis of architectural elements and features of the visual image of the stage space of performances, the characteristic features of Yevhen Lysik's nonconformism were revealed. It has been established that the formation of the aesthetic code of effective scenography in the Lviv Opera and Ballet Theater and the reform of the artistic language of the set decoration were determined not least by the process of selfidentification of Ye. in general. The design of the stage space of the performances developed and implemented by the master represents a unique matrix of the ideological artistic concept of creativity, which was formed and developed during decades of
creative activity in the context of the struggle for the physical and spiritual freedom of man.
Practical significance. Certain aspects and conclusions of the study can be used in further scientific development of the problem of non-conformism in stage design.

ADVERTISING SIGNS IN THE PROCESSES OF CREATING URBAN SPACE

Nataliya Dyadyukh-Bohatko — Wed, 25 Dec 2024 00:00:00 +0200

The influence of advertising signs on the creation and transformation of urban space is a multifaceted issue that reflects the intersection of commerce, aesthetics and cultural identity. In modern cities, advertising, whether in the form of billboards, banners, posters, or digital displays, is omnipresent and serves not only to promote products and services but also to shape the visual identity and aesthetic experience of the urban environment.
In some cities, particularly those with rich architectural heritage (Lviv, Kyiv, Odesa), the introduction of largescale advertisements can create tension between preserving historical aesthetics and accommodating contemporary commercial needs. These cities, known for their unique urban character, often see visual advertising as intrusive, especially when placed on or near historical monuments and buildings. This can result in a visual clash, where modern advertisements disrupt the architectural harmony of the space, detracting from its historical value. Advertising in urban spaces also plays a role in forming or altering cultural identity. In many cases, the symbols, language, and imagery used in advertisements reflect broader cultural narratives, values, and identities. For example, an advertisement might utilize local traditions or iconic cultural symbols to create a sense of familiarity, but it might also commodify these cultural elements, leading to debates about authenticity and the commercialization of heritage. The constant exposure to visual advertising affects how residents perceive their environment. In cities with excessive or poorly regulated advertising, this can lead to visual pollution, which diminishes the quality of urban life.
Conversely, well-integrated advertising can enhance the urban space, offering vibrant and dynamic visuals that contribute to a city’s modern identity. This relationship between advertising and urban life is not static; it evolves
with societal trends, economic priorities, and urban planning regulations. Cities are increasingly aware of the need to balance commercial imperatives with preserving cultural and aesthetic values. Some urban areas have introduced strict advertising regulations to maintain visual harmony, while others experiment with creative advertising solutions that blend commercial and artistic expression.
Advertising signs significantly contribute to the processes of creating and transforming urban space, shaping not only the city’s aesthetic but also its cultural code and identity. Effective urban planning must
account for the impact of visual advertising, ensuring that it complements rather than conflicts with the architectural and cultural heritage of the city.

RETROSPECTION OF THE DEVELOPMENT OF KINETIC TYPOGRAPHY AND ITS APPLICATION IN DESIGN

Viktor Khodosov — Wed, 25 Dec 2024 15:49:09 +0200

This article explores the evolution and extensive applications of kinetic typography, a form of motion design that animates text to create dynamic visual effects. These effects significantly enhance information delivery and emotional impact on
the viewer, making the content more engaging and comprehensible. Kinetic typography combines principles of traditional typography, animation, and cinematography, providing new opportunities for visual communication and creative self-expression. The study covers the historical milestones in the development of kinetic typography, from its origins in the 20 th century to modern advancements. It examines technological innovations such as computer animation and motion design software, which have greatly contributed to its growth. The increasing popularity and effectiveness of kinetic typography across various media, including film, television, advertising, music videos, web design, and digital interfaces, are highlighted.
The analysis includes contributions from renowned designers and researchers, such as Saul Bass, who have significantly influenced this field. It highlights creative and technical innovations that allow the use of kinetic typography to
create unique and impactful visual messages. Special attention is given to the role of kinetic typography in contemporary design, where it serves as a powerful tool for engaging audiences and enhancing communication effectiveness.
This work aims to characterize the primary stages of kinetic typography development through retrospective analysis, offering deep insights into its significance and potential in modern design practice. The article also considers
future prospects for the development of this dynamic field.

RETHINKING UKRAINIAN ETHNO-CULTURAL HERITAGE IN THE CONTEXT OF SUSTAINABLE FASHION

Iryna Soloviy — Wed, 25 Dec 2024 15:56:36 +0200

Problem Statement and Relevance of the Study. The article investigates the integration of Ukrainian ethnocultural heritage into sustainable fashion development. The relevance stems from the need for theoretical understanding and practical implementation of innovative approaches to fashion design at the intersection of two key contemporary paradigms: sustainable development and preservation of cultural identity.
Research Methodology. The research methodology combines historical, systemic-structural, and art history analysis approaches to study Ukrainian ethno-cultural heritage in sustainable fashion through three main aspects: technological-production (traditional crafts and innovative technologies), constructive-design (historical forms and patterns), and artistic-semantic (cultural codes and visual elements). The study analyzes the experience of leading Ukrainian brands implementing elements of ethno-cultural heritage in sustainable fashion design.
Results. The research identifies effective approaches to integrating traditional elements into modern production through the revival and adaptation of historical craft practices (weaving, wickerwork, natural dyeing), transformation of traditional forms and structural elements into contemporary design, and reinterpretation of cultural codes. The analysis of Ukrainian brands demonstrates successful integration of heritage elements with sustainable production principles.
Novelty. The study proposes, for the first time, a comprehensive methodology for analyzing ethno-cultural heritage as a resource for sustainable fashion development, including evaluation criteria for traditional techniques' adaptation to modern environmentally responsible production and their potential for preserving cultural authenticity.
The Practical Significance. The research provides practical value for the Ukrainian fashion industry through scientifically-based recommendations for implementing traditional techniques in modern production, identification of promising directions for sustainable fashion development based on ethno-cultural heritage, and methodological foundations for sustainable fashion design education programs.

STRATEGIES FOR ADVANCING INTERACTIVE DESIGN IN MUSEUM EXHIBITS

Wang Shuanghu, Тетяна Кротова — Wed, 25 Dec 2024 16:10:32 +0200

This study endeavors to enrich visitors' museum experiences by incorporating diverse interactive and sensory approaches, transcending the conventional media display paradigms in museums.Drawing on the emotional hierarchy framework, it delves into visitors' psychological and behavioral demands within museum exhibition spaces, categorizing them into instinctual, behavioral, and reflective dimensions. Furthermore, the paper explores the evolution of interactive design in museum contexts and its practical manifestations through illustrative case studies.From the angles of perceived experience, interactivity, and interaction modalities, this work proposes strategies to enhance interactive experiences in museums. It emphasizes that these experiences should harmoniously blend technology with visitors' needs and prior experiences, avoiding a mere technological drive. Instead, it advocates for a «from object to subject» and «from external to internal» exhibition engagement paradigm, achieved through the seamless integration of visitor, scene, and behavior via perceptual experiences. This approach fosters deeper connections and resonance between audiences and museum content.

COMMUNICATION POTENTIAL OF FASHION IN THE CREATIVITY OF MARIE GRACE CURIE

Lyudmila Dykhnych — Wed, 25 Dec 2024 16:17:22 +0200

Abstract. The article highlights the creative approaches of the Italian-French designer Maria Grazia Chiuri in creating the Dior Cruise 2024 collection dedicated to the life and work of the Mexican artist Frida Kahlo. Various forms
and means of presentation of the collection in May 2024 in Mexico City are studied, the communication contexts laid down by the designer in the style and decorative characteristics of the products, as well as in the ways of their
presentation by means of fashion shows and fashion photography are revealed.
It has been found that M. G. Curie, through design decisions and the show of the collection, embodies the following communication contexts: cultural and artistic (presents the ancient and modern craft heritage of Mexico), design (demonstrates the synthesis of modern fashion with the motives of F. Kahlo's work and elements of Mexican craft practices); historical (reproduces and continues the connection between the work of K. Dior's work and the culture and art of Mexico); social (through the figure of F. Kahlo, it demonstrates the possibility of accepting freedom and defining oneself on one's own terms; touches upon such topics as gender, gender identity, disability); research (the collection was developed on the basis of a comprehensive study of the archival heritage of C. Dior, the life, work and costume heritage of F. Kahlo, traditions and innovations of Mexican craft practices). It is emphasised that the analysed collection is not only an object of fashion and design; it is the result of an indepth study of the social and historical aspects of F. Kallo's life and work and the peculiarities of Mexican craft cultures.
The purpose of this publication is to analyse the communication potential in the work of the Italian-French designer M. G. Curie on the example of the 2024 cruise collection inspired by the life and works of the Mexican artist F. Kahlo. The article
uses the following research methods: historical and chronological, biographical (when recreating the chronology of M. G. Curie's study of F. Kahlo's work), figurative and stylistic, formal analysis (when studying the collection's images),
generalisation (to identify communication contexts in the designer's work, to formulate conclusions), an integrated approach (allowed to comprehend the interaction of cultural, artistic, design, social, historical aspects of M. G. Curie's work). The
results of the study can be used in the preparation of educational materials on the history of design and fashion.

MODERN TECHNOLOGIES OF DIGITALIZATION OF MUSEUM COLLECTIONS IN UKRAINE

Vasyl Papp, Nelya Boshota, Alla Paulyk, Vasylyna Palynchak-Kutuzova — Wed, 25 Dec 2024 16:36:32 +0200

The article is devoted to the study of modern technologies for digitizing museum collections in Ukraine, the analysis of the main trends in the implementation of digital tools in museum activities and the assessment of their impact on the save and popularization of cultural heritage.
Research methodology. The study used an interdisciplinary approach, which includes the analysis of scientific publications, a review of existing digitization projects in Ukrainian museums, as well as the study of international experience.
Results. Digitization technologies are actively implemented in Ukrainian museums, contributing not only to the save of cultural heritage, but also to its increased accessibility. In particular, the use of 3D scanning allows you to create accurate digital copies of artifacts, and VR/AR technologies expand the possibilities for interactive visitor engagement. Novelty. The study offers a systematic analysis of the implementation of digital technologies in the museum business of Ukraine, focusing on innovative solutions and their impact on museum activities. Directions for integrating modern digital tools into the practice of saving and popularizing cultural heritage are proposed.
Practical significance. The results of the study can be used to develop strategies for digitizing museum
institutions, optimizing the management of museum collections, and attracting a wider audience.

HANDWRITTEN HEIRMOLOGIONS – AN IMPORTANT SOURCES FOR RESEARCHING THE SPIRITUAL-SONG CULTURE OF TRANSCARPATHIA IN THE ХVІІІ – ХІХ CENTURIES

Ihor Zadorozhnyі, Oleksandr Malets , Alla Morgun , Viktoriya Oliynyk — Wed, 25 Dec 2024 00:00:00 +0200

The article examines the development of spiritual-song culture, focusing on the importance of the clergy, the opening of religious educational institutions, and the dissemination of heirmologions’ manuscript in the liturgical and educational practice of Transcarpathia in the 18 th – early 19 th centuries.
A review of the contents of heirmologions’ manuscript indicates the functioning of the traditional festive repertoire of church singing, which was characteristic of the Ukrainian Heirmoloi tradition of the 17 – 18 th centuries.
A number of genres have been clarified and defined, which in Yuhasevych's heirmologions belong to the Bulgarian gender, which further confirms the peculiarities of the formation of the heirmologions’ repertoire based on the interaction of multinational traditions, the adaptation of their musical component in church singing practice, the preservation of ancient forms of sacred monody, an important part of the spiritual and song culture of the region.

THE ROLE OF FOUNDATION SCIENCE IN PRESERVING THE DOCUMENTARY MEMORY OF SOCIETY

Alla Morgun, Lidiya Prokopovych, Chorii Myroslava, Oleksandr Malets — Wed, 25 Dec 2024 17:09:45 +0200

Documentary memory is the basis for studying historical processes, making management decisions and developing culture. Foundation studies as a scientific and practical discipline guarantees the preservation of documents for future generations. Documentary funds are unique evidence of the historical, social, cultural and scientific development of society, playing the role of the material basis of collective memory. They are an integral part of the national heritage, serve as a basis for scientific research and popularization of cultural values. Archival studies today face a number of challenges, such as the risk of archival documents being lost due to natural disasters, military operations, or underfunding. At the same time, it is actively developing thanks to digitalization, which opens up new opportunities for saving and distributing information. Digital archives, platforms with open access and the use of artificial intelligence contribute to the preservation of funds and increase their accessibility.
Fundology is of great importance for Ukraine, as documentary funds are a source of objective information about history, a means of protecting true history, and a tool for the formation of national consciousness. The modern development of this science requires active state support, funding, training of highly qualified specialists and integration into the international scientific space. Preservation of documentary heritage is not only a scientific task, but also a moral
duty to future generations, because it provides a link between the past, present and future.

THE ROLE OF MODERN TECHNOLOGIES IN MUSEUM ANAGEMENT

Alla Paulyk, Diana Shterr, Nelya Boshota, Chorii Myroslava — Wed, 25 Dec 2024 17:21:49 +0200

Museums play an important role not only in preserving the cultural and historical heritage of the Ukrainian people. The issue of improving the efficiency of museums' operations and management is becoming increasingly important. Modern technologies are becoming a tool that can solve many problems related to the popularisation of museums, the formation of a museum management system, and the involvement of the public in the activities of museum institutions. The widespread introduction and use of interactive and information technologies will bring museums to a new level. The rapid development of modern technologies, access to the World Wide Web, and the intensification of globalisation processes have led to a review of the main aspects of museums' activities and changes that will meet the main trends in the development of scientific and technological progress and communication and information technologies, in particular. The problems faced by our country over the past decade have affected all spheres of life and the activities of museums in particular. The use of science and technology in museums makes it possible to bring museums closer to visitors. Modern technologies play an important role in the practical activities of museum institutions, as they are designed to increase the efficiency of museum work and its management. Modern technologies are a tool that allows museums to reach a new level, to meet the needs and wishes of visitors. The purpose of the article is to reveal the peculiarities of the functioning of museum institutions and the role of modern technologies in their management. No museum can fulfil its main task without the use of modern technologies. To the extent that a modern museum directs most of its efforts towards attracting a new audience and retaining the existing one, most modern technologies will be related to this particular area of the museum's activities. Despite the numerous advantages of using modern technologies in the operation and management of museums, there are problems that need to be studied and addressed in more detail in the future. In particular, the introduction of modern technological solutions requires significant financial investments, which leads to changes in financial decisions, in working with the authorities, patrons and sponsors. New requirements are being set for the staff of museum institutions, which makes them acquire new knowledge and improve their professional level. However, the use of modern technologies in the activities of museums creates new opportunities for learning about the historical and cultural past of our country and the world.

MUSEUMS AS PLATFORMS FOR RESEARCH : NEW APPROACHES TO EXHIBITION AND INTERPRETATION

Diana Shterr, Tetiana Shytikova , Vasylyna Palynchak-Kutuzova, Yosyp Rohliev — Wed, 25 Dec 2024 17:33:52 +0200

The article examines modern approaches to transforming museums into multifunctional platforms for scientific research, educational activities, and cultural integration. It highlights the role of museums in interdisciplinary studies,
particularly in archaeology, biology, and history, as well as their contribution to developing innovative educational programs. Special attention is given to the use of digital technologies, such as collection digitization, virtual and
augmented reality, which enhance exhibition and research opportunities. The social role of museums as platforms for cultural dialogue and local community integration is also analyzed. In the Ukrainian context, key challenges are
identified, including insufficient digitization, limited funding, and the need to expand international collaboration. The study provides recommendations for modernizing Ukrainian museum practices, emphasizing innovation and integration
into the global scientific and cultural landscape.

UNDERSTANDING AND WORKING KNOWLEDGE OF STUDENTS IN THE DIRECTION 027 «MUSEOLOGY. MONUMENT STUDIES» ON THE BASIS OF THE MUKACHEVO STATE UNIVERSITY

Vasylyna Palynchak-Kutuzova, Viktoriya Oliynyk, Diana Shterr, Alla Morgun — Wed, 25 Dec 2024 00:00:00 +0200

The article considers the process of preparing students studying in the specialty 027 «Museology, Monument Studies» at Mukachevo State University. The educational program for this area of study is described. The theoretical part of the article
is devoted to subjects taught to students who receive higher education in this specialty. The main professional duties of a specialist in the field of museology and monument studies are indicated, and the positions that graduates can occupy. An
analysis of the ways and methods of learning students to acquire the necessary knowledge, skills and abilities is carried out. In addition, the practical training of future museum workers, which is carried out on the basis of the Museum of Applied Arts of Transcarpathia, Mukachevo State University, as well as other museums of the Transcarpathian region, is also described. The practical component of learning involves themselves preparing of projects, concepts, thematic structures, thematic and exhibition plans, catalogs, descriptions of objects and exhibits by students, which will allow them to better understand the nuances of museum work and obtain the necessary skills for working in the museum and in the monument studies.

MODERN FORMS OF PRESERVATION AND POPULARIZATION OF FOLK CULTURE BY MEANS OF TRANSCARPATHIAN MUSEUM OF APPLIED ARTS OF MUKACHEVO STATE UNIVERSITY IN THE SYSTEM OFTHE MONUMENT PROTECTION NETWORK OF UKRAINE

Viktoriia Oliinyk, Diana Shterr , Oksana Zherebak — Wed, 25 Dec 2024 17:57:16 +0200

The article considers cultural, recreational, artistic, educational and other forms of preservation and popularization of folk culture of the Carpathian region. The problems and prospects of collecting, preserving and studying monuments of folk crafts, carried out by the means of Transcarpathian Museum of Applied Arts of Mukachevo State University have been analyzed. It has been determined that the specificity of the activities of Transcarpathian Museum of Applied Arts of Mukachevo State University consists in a comprehensive display of national folk culture, reconstruction of folk traditions, household items, tools, applied art and is actively used in the educational process. It has been studied that the leading trends in the education of the younger generation of Ukrainians are the promotion of local folk traditions and customs, theatrical projects, and specialized master classes.

MANAGING SOCIOCULTURAL TECHNOLOGIES IN CONTEMPORARY SOCIAL WORK

Natalia Maksymovska — Wed, 25 Dec 2024 18:03:10 +0200

The article examines the issue of increasing the efficiency of sociocultural technologies and cultural management in order to solve the issues of social integration, activation, and support of the population. Aim. The aim of this paper is to
analyze contemporary development trends of social work and the sphere of culture, substantiate characteristic features of increasing the effectiveness of cultural management in order to ensure integration of population, activation of public
interaction, development of social creativity by means of sociocultural technologies. Research methodology. Sociopedagogical approach is applied as the leading one with the aim of increasing the effectiveness of management mechanisms in
the field of culture to solve the tasks of contemporary social work, particularly social integration and activation of social groups. Management, system, activity aspects of contemporary sociocultural and social processes were taken into
consideration. Results. Characteristic features of development of contemporary social work in Ukraine were determined, a management system of sociocultural technologies was integrated in order to solve the tasks of social work, considering the capabilities of the means of sociocultural activity for effective social integration and development of social creativity of various social groups. Novelty. It was substantiated that management of sociocultural activities is in a state of dynamic
changes, which is taken into account during planning, organization, and coordination of the sociocultural process. It has been proven that the current state of development of social work and cultural management should be realized during training of specialists in social and sociocultural sphere. Practical significance. The research conducted among students of higher education institutions in order to identify the effectiveness of educational programs allows us to state that there is a prevailing trend of positive attitude towards combination of professional roles, but it is necessary to diversify forms of practical training of students. Prospects for further research. Determination of means, methods and forms of socio-cultural activity with the aim of consolidating population at the united territorial communities level, development of complex social integration projects for citizens through involvement in activity in the field of leisure and event technologies.

CULTURE AND MANAGEMENT IN THE NATIONAL EDUCATIONAL SPACE: STATUS, CHALLENGES, PROSPECTS

Tetiana Uvarova — Wed, 25 Dec 2024 00:00:00 +0200

The competitiveness and enormous opportunities of modern culture have led to a rethinking of the professional training of managers in the field of culture and art.
The purpose of the article is to study the specifics of national education and training of specialists in cultural management.
The methodological basis was the analytical method, which allowed obtaining information about the object, examining each element in detail, identifying its properties and connection with other components.
Results. The article actualizes the issue of the essence of the relationship between management and culture. The conceptual apparatus is clarified and the terminological boundaries of the main concepts are outlined. It is established that
«cultural management», «cultural management», or «management in the field of culture» are synonymous and are used in the sense of planning, organization, monitoring of processes related to culture and art, including the production,
distribution and consumption of cultural products. «Management of socio-cultural activities» is associated with society and is an appropriate activity aimed at creating, preserving, broadcasting, assimilating and developing cultural traditions,
values and norms. «Art management» as an integration of organizational, managerial and aesthetic activities is a narrower area of cultural management and is mostly focused on the artistic sphere.
The specifics of cultural management are analyzed and such specific features as economic resourcefulness, commercial feasibility, and interdisciplinarity are highlighted.
The professional competencies of a cultural manager are outlined. It has been established that the specialty of a cultural manager is a complex of integrated knowledge and skills based on knowledge of culture, an understanding of
the whole range of innovations, awareness of project management, finance, communication, business skills, knowledge of the international context, and creativity.
The current state of national education in the field of «Cultural Management» is analyzed. It is found that there is a gap in the matching of supply and demand, educational programs offered in Ukraine are characterized by diversity
and mostly declaration of offers, and the existing educational offers are detached from life. There is an imbalance between historical and theoretical disciplines that provide basic knowledge and practical disciplines that develop
specific skills. The author also highlights the system's inflexibility and isolation from the international cultural process, which must be overcome in the national education system in this area.
It is emphasized that, along with classical education, professional skills can be acquired through non-formal or alternative education, which is more flexible and easier to adapt to updates, and sometimes is itself a guide to them.
Informal projects not only fill the existing vacuum, but also try to launch certain processes of renewal in education.
Conclusion. In our opinion, it is necessary to form a systematic higher education in cultural management that is flexible and quickly adaptable to cultural and artistic transformations. Non-formal, alternative education can be not only a
«supplement» to the existing professional knowledge of those who have chosen a profession in the creative economy sector, but can also be considered as an educational resource in the training of qualified cultural managers

THE POTENTIAL OF HUTSUL AND ITS FORMS OF ITS PRESENTATION IN MODERN CONDITIONS

Lilia Luchinska , Serhii Vitkalov — Wed, 25 Dec 2024 20:18:04 +0200

The aim of this study is to analyze the potential of Hutsulshchyna and the forms of its presentation in modern conditions. The research emphasizes the significant cultural, historical, and natural potential of the region, which can serve as a foundation for the development of various types of tourism and cultural events. The study addresses the challenges and opportunities that Hutsulshchyna faces, particularly in light of the COVID-19 pandemic and the ongoing war in Ukraine.
The results of the study highlight the impact of these transformative events on the tourism sector, including the economic consequences and changes in demand for tourism services. The research identifies key areas for development, such as educational initiatives, museum activities, and cultural festivals that promote Hutsul culture and contribute to
regional development. Specific examples include the introduction of interactive museum methods, which engage the youth in learning about Hutsul traditions, and various cultural events that unite locals and tourists.
The novelty of this study lies in its comprehensive analysis of Hutsulshchyna's cultural potential within the context of current global challenges. It explores the dual impact of globalization and modern technology on the preservation and development of the region's unique ethnic culture. This research also introduces new strategies for leveraging cultural heritage to enhance regional tourism and economic stability.
The research methodology involves a multidisciplinary approach, combining ethnographic studies, economic analysis, and cultural assessments. The study uses both qualitative and quantitative data to provide a thorough understanding of the current state and potential growth areas for Hutsulshchyna's tourism and cultural sectors. This includes case studies of
successful initiatives and an examination of the role of community organizations and government institutions.
The practical significance of this study is in its recommendations for improving the presentation and utilization of Hutsulshchyna's cultural potential. By suggesting concrete strategies for enhancing tourism infrastructure, promoting traditional crafts, and implementing effective marketing techniques, the research provides a roadmap for stakeholders to follow. These recommendations aim to preserve the unique cultural heritage of Hutsulshchyna while fostering economic development and increasing the region's attractiveness to both tourists and investors.

EVENT TOURISM :ADVANTAGES AND PROSPECTS OF THE PROMOTION

Roksolana Dіachenko, Liudmyla Kononenko — Wed, 25 Dec 2024 00:00:00 +0200

The purpose of the article is to analyze the main advantages of event tourism on the example of music festivals with a projection on the prospects of its promotion.
The scientific novelty consists in an attempt to combine the main advantages of festival tourism with the tasks of its promotion.
The research methodology is based on the application of a systematic approach and a set of the following methods: cultural, analytical, comparative-historical, art-based for comprehensive coverage of the outlined issues and the formulation of substantiated conclusions.
Conclusions. The main disadvantages of event tourism can be significantly leveled at the expense of its advantages, which sometimes have one source of origin. Therefore, it is necessary to build a certain perspective that will make it possible to transform the disadvantages of event tourism into its undoubted advantages, which should be taken into account not only by event organizers, but also in the formation of the main directions and means of cultural policy implementation. In this way, a reasonable balance can be found between the interests of the organizing entrepreneurs and the local community, both in the short and long term, without disturbing the cultural identity and traditions of the local community.

EXPERIENCE OF DECENTRALIZATION REFORM IN TERNOPIL REGION

Ivanna Andrushko, Volodymyr Vytkalov — Wed, 25 Dec 2024 00:00:00 +0200

The decentralization reform in the Ternopil region has made significant progress in local governance. The creation of united territorial communities optimized administration and gave communities greater control over budgets.
This financial autonomy was reflected in a more than fourfold increase in revenues to local budgets since 2014.
Communities used these resources to address local needs such as infrastructure improvements (road repairs, street lighting) and improved service delivery through centralized service delivery centers. In addition, the reform optimized administrative structures, reduced bureaucracy by reducing the staff of district administrations and increasing local self government specialists. However, problems remain. Negative population growth and migration outflow, especially in rural areas, threaten the sustainability of these communities. Preservation of cultural institutions and attraction of young specialists are permanent problems that require urgent attention. In general, decentralization in Ternopil region has expanded the opportunities of communities, but it faces problems. Addressing depopulation, sustaining cultural life and attracting young talent are key to ensuring the long-term success of these reforms.

ANALYSIS OF MODERN CONDITIONS OF THE ARTIST'S ACTIVITY IN UKRAINE : THEORETICAL, METHODOLOGICAL AND ASPECT

Vladyslava Kolodyuk — Wed, 25 Dec 2024 20:53:32 +0200

The Aim of This Research. The aim of this research is to provide a comprehensive analysis of the current conditions of professional artistic activity in Ukraine, shaped by historical, socio-economic, political, and technological influences. The study seeks to identify the opportunities and challenges faced by Ukrainian artists in the context of globalization, digitalization, and the ongoing Russian-Ukrainian war. Furthermore, it aims to highlight the strategies adopted by artists to adapt, innovate, and sustain their creative practices while preserving and promoting Ukrainian cultural identity on both national and international levels.
The Results of the Study. The findings of this study reveal that Ukrainian artists operate in a complex environment characterized by both opportunities and challenges. Firstly, globalization and digitalization have transformed the creative landscape. Platforms such as YouTube, Spotify, and Apple Music democratized the distribution process, allowing independent artists to reach global audiences without traditional intermediaries. Social media has further facilitated direct interaction with audiences, but it has also created new pressures, such as content oversaturation, requiring artists to develop digital marketing and branding skills Secondly, the Russian-Ukrainian war has profoundly impacted artistic activities. Many artists have been displaced, losing their studios and resources. However, war has also inspired a shift in creative themes. Ukrainian artists actively document the realities of war, reinterpreting concepts of national identity, resilience, and memory. This has resulted in powerful works of art, including films, music, and exhibitions, which serve both as tools of cultural resistance and as historical records. A notable example is «20 Days in Mariupol» by Mstyslav Chernov, which received international recognition and became a symbol of Ukraine’s cultural and spiritual resilience. Additionally, the role of cultural festivals and independent artistic communities is pivotal.
Events such as GogolFest, Atlas Weekend, and LvivMozArt provide platforms for showcasing artistic talent, fostering interdisciplinary collaborations, and facilitating international cultural exchanges. Independent cultural hubs and creative communities have emerged as vital sources of support for artists during economic and political instability, encouraging innovation and solidarity. Lastly, economic challenges remain significant. Limited state funding and financial instability force many artists to prioritize commercially viable projects over experimental or personal work. This balance between financial necessity and creative freedom highlights the resilience and adaptability of Ukrainian artists.
The Novelty of This Study activity of Ukrainian artists in the current transformative period. Unlike prior studies that focus on isolated aspects such as digitalization or war, this research provides a holistic examination of historical, economic, technological, and wartime factors that influence artistic practices. The study also underscores the role of art as a form of cultural resistance and documentation during times of war, illustrating its capacity to address global audiences and contribute to international solidarity with Ukraine.
The Research Methodology The research methodology combines qualitative and quantitative approaches to ensure a comprehensive understanding of the subject matter. Content analysis was conducted on academic publications, media reports, and cultural policy documents related to the state of artistic activity in Ukraine. Case studies of successful artists and artistic collectives, such as Kalush Orchestra, Go_A, DakhaBrakha, and ONUKA, provided insights into their strategies for integrating national traditions with global trends. Comparative analysis was employed to evaluate changes in artistic themes and methods before and during the Russian-Ukrainian war. Additionally, interviews and surveys were conducted with artists, festival organizers, and cultural policymakers to obtain firsthand perspectives on current challenges and opportunities.
The Practical Significance of This Study. The practical significance of this study lies in its ability to inform cultural policy, support mechanisms, and strategic planning for Ukraine’s artistic sector. Firstly, the study highlights the need for state support through funding initiatives, grants, and cultural diplomacy programs to promote Ukrainian art internationally. Secondly, it underscores the importance of enhancing digital skills among artists to effectively engage with global audiences and compete in the digital art market. Thirdly, the research demonstrates the role of cultural diplomacy as a means of promoting Ukrainian cultural identity and raising international awareness about the war. It also emphasizes the necessity of developing frameworks to support displaced artists by creating sustainable creative hubs that offer resources, networking opportunities, and platforms for showcasing their work. Finally, the study encourages initiatives that preserve and promote Ukrainian cultural heritage, ensuring that artistic achievements during this challenging period have a lasting impact on the global cultural landscape. In conclusion, this research serves as a valuable resource for cultural policymakers, creative industries, and international organizations. It provides actionable recommendations for fostering resilience, innovation, and cultural sustainability within Ukraine’s artistic community, reinforcing the role of art as a driver of national identity and global engagement.

PARACATEGORIES OF NONCLASSICAL AESTHETICS IN AUTHORIAL CINEMA : A PRACTICAL ASPECT

Sofiia Balatsko — Wed, 25 Dec 2024 00:00:00 +0200

The Aim of This Research. This research aims to explore the multifaceted nature of aesthetics as a philosophical discipline, focusing on its integration into modern artistic practices and its role in shaping cultural, social, and personal perspectives. Particular attention is given to the transformation of traditional aesthetic categories within the framework of non-classical aesthetics and their application in authorial cinema.
The Results of the Study. The study reveals that non-classical aesthetics, through its dynamic conceptual frameworks such as harmony-chaos and sublime-ordinary, has significantly expanded the understanding of aesthetic categories. This transformation is vividly demonstrated in the works of auteur filmmakers like Lars von Trier and Quentin Tarantino, who reimagine aesthetic norms to provoke intellectual and emotional engagement.
The Novelty of This Study. The novelty of this study lies in its analysis of the interplay between non-classical aesthetic paradigms and contemporary authorial cinema. It provides a new perspective on how these paradigms not only redefine traditional aesthetic categories but also serve as tools for understanding complex cultural and social phenomena in modern art forms.
The Research Methodology. The study employs an interdisciplinary approach, combining philosophical analysis, comparative cultural studies, and film theory. It integrates textual analysis of films, aesthetic critique, and historical context to examine the influence of non-classical aesthetics on modern artistic expressions.
The Practical Significance of This Study. This research holds practical significance in advancing theoretical discourse in aesthetics and film studies. It offers valuable insights for educators, cultural theorists, and filmmakers by highlighting the role of aesthetic categories in interpreting and creating contemporary art. Moreover, it provides a framework for analyzing modern cinematic works as complex reflections of cultural and philosophical dynamics.

EPISTEMOLOGICAL STATUS OF CONCEPT MORAL AUTHORITY AS TO THE IMAGINARY CATEGORY IN MODERN CULTURAL STUDIES

Valentyna Diachuk — Thu, 26 Dec 2024 18:37:36 +0200

A research aim is setting of conceptual limits of concept moral authority in an imaginary structure. To understand as evaluation judgement is formed and as a man gets knowledge that are criteria of their truth, and also what processes
stand after cognition of instrument of reflection and transformation of public perception. Research methodology is base on interdisciplinary approach that combines a culturological, philosophical, sociological, psychological, political science analysis. For gaining end of there are such theoretical methods: analysis, synthesis, generalization of scientific literature on issue of research.
A scientific novelty consists in consideration of еpistemological status – unlike agnosiology that touches the theoretical comprehension of knowledge in a greater degree, epistemology aspires to the analysis to his maintenance and
functions in concrete practices. In the article influence of «moral authority» is exposed in the ntext of cultural studies and imaogology that gives an opportunity deeper o to givesnderstand how this concept is formed and changes in different cultural contexts, and also to set what social terms and psychosomatic public states influence on creation and support of positive image of moral authority that implicitly influences on public opinion.