Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.06
I. Borys, S. Fievralova
The purpose of the article — to analyze the already existing system of education and professional evolvement of drama theatre and movie actors, and to propose an effective algorithm for working with students of performing art departments in higher educational institutions. The methodology. The methodology of the article is determined by the research topic’s peculiar nature, relies on the authors’ practical experience and is conditioned by the purpose of the article. Among the methodological tools, an interdisciplinary approach was employed (thanks to the use of professional descriptions from such disciplines as pedagogical science, psychology, aesthetics and others) and the functional approach, which determines the scientific weight of the issues outlined in the article due to their real functioning in culture and in historical perspective. Also, the axiological method and the interpretation method were used to explain social and cultural factors of future actors’ education and to analyze additional levers and professional evolvement. The results. 1. The main areas of future drama theatre and movie actors’ training were analyzed in order to determine the key problems of professional evolvement of students specializing in theatre in higher educational institutions. 2. The stratum of historical course in formation of actor’s profession as an independent professional activity was studied. 3. The main levers of artistic influence and operational tools for future theatre and movie actors’ education have been defined. The scientific novelty. Professional artistic education directed at theatre arts should never be silent about the problems of education and professional evolvement of students specializing in drama theatre and movie in higher educational institutions, which problems have already become systemic. One of the key reasons for that lies in the inconsistency with current realities of the world’s theatre process and Ukrainian artistic space. The practical significance. The actor is a truly unique and universal profession, yet one should exactly define what namely its universality and uniqueness lies in. The profession of theatre and movie actor does not simply represent the knowledge of certain elements of the craft, tools and instruments that the actor must possess (voice, rhythmicity, development of imagination and fantasy, emotional and psychophysical memory), but also is complemented by in-depth analytical research into the “novel of life” — biographies of people played by actors, the ability to form his or her professional “circle of attention”. It would be highly appropriate to permanently employ physical training elements (language and visual ones, transition from one environment to another etc.). All that and many other components, which the actor deals with when operating within realistic psychological theatre training system, determine the success of professional evolvement.
{"title":"Systemic problem of education and professional evolvement of students specializing in «Drama theatre and movie actor» in higher educational institutions","authors":"I. Borys, S. Fievralova","doi":"10.31516/2410-5325.078.06","DOIUrl":"https://doi.org/10.31516/2410-5325.078.06","url":null,"abstract":"The purpose of the article — to analyze the already existing system of education and professional evolvement of drama theatre and movie actors, and to propose an effective algorithm for working with students of performing art departments in higher educational institutions. \u0000The methodology. The methodology of the article is determined by the research topic’s peculiar nature, relies on the authors’ practical experience and is conditioned by the purpose of the article. Among the methodological tools, an interdisciplinary approach was employed (thanks to the use of professional descriptions from such disciplines as pedagogical science, psychology, aesthetics and others) and the functional approach, which determines the scientific weight of the issues outlined in the article due to their real functioning in culture and in historical perspective. Also, the axiological method and the interpretation method were used to explain social and cultural factors of future actors’ education and to analyze additional levers and professional evolvement. \u0000The results. 1. The main areas of future drama theatre and movie actors’ training were analyzed in order to determine the key problems of professional evolvement of students specializing in theatre in higher educational institutions. 2. The stratum of historical course in formation of actor’s profession as an independent professional activity was studied. 3. The main levers of artistic influence and operational tools for future theatre and movie actors’ education have been defined. \u0000The scientific novelty. Professional artistic education directed at theatre arts should never be silent about the problems of education and professional evolvement of students specializing in drama theatre and movie in higher educational institutions, which problems have already become systemic. One of the key reasons for that lies in the inconsistency with current realities of the world’s theatre process and Ukrainian artistic space. \u0000The practical significance. The actor is a truly unique and universal profession, yet one should exactly define what namely its universality and uniqueness lies in. The profession of theatre and movie actor does not simply represent the knowledge of certain elements of the craft, tools and instruments that the actor must possess (voice, rhythmicity, development of imagination and fantasy, emotional and psychophysical memory), but also is complemented by in-depth analytical research into the “novel of life” — biographies of people played by actors, the ability to form his or her professional “circle of attention”. It would be highly appropriate to permanently employ physical training elements (language and visual ones, transition from one environment to another etc.). All that and many other components, which the actor deals with when operating within realistic psychological theatre training system, determine the success of professional evolvement.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42497766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.19
R. Nikolenko
The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research. The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research. The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods. The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure. Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out. The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.
{"title":"Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle","authors":"R. Nikolenko","doi":"10.31516/2410-5325.078.19","DOIUrl":"https://doi.org/10.31516/2410-5325.078.19","url":null,"abstract":"The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research. \u0000The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research. \u0000The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods. \u0000The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure. \u0000Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out. \u0000The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48373614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.11
V. Buhaiova
The purpose of the article is to analyze the reflection of the Ukrainian people’s heroic resistance to Russian aggression in modern theatrical art forms in the context of “action directing”. The main methodological tool for the study of the mentioned problem is a formal and art-scientific analysis of a set of theatrical artistic forms, which, in our opinion, today form a certain theatrical environment. An important set of ideas on which the study of such a symbolic environment is based are ideas related to the formation of a certain “symbolic field”. In addition to the interpretation of the concept of “symbol” by classical European philosophy, the ideas of philosophers and cultural scientists of the XX century remain effective. (from B. Russell, J. Dewey, R. Carnap, J. Piaget. E. Cassirera, S. Langer, A. Whitehead, K. G. Jung, T. Todorov, O. F. Losev, Yu. M. Lotman, R. Eshelman, J. Birringer etc.), who considered various aspects of the implementation of “action directing” in the formation of modern artistic forms and symbolic expressions. Approaches substantiated by Guy Debord, R. Caiua, B. Massumi, R. Eshelman, J. Birringer, and others also appear to be methodologically important on various aspects of the problem under investigation. The result of the research presented in this article is understanding of the main theatrical forms and art practices which are implemented in the context of “directing of action” during Ukrainian resistance to Russian aggression. The scientific novelty of the research presented in the article is consists in understanding those projects of various typological orientations that were created by Ukrainian artists and Ukrainian society during the active phase of Russian aggression against Ukraine. The article proves that Ukrainian civil society uses both archetypal and ultra-modern figurative and semantic constructions to symbolize its opposition and implements them in the context of “directing of action”. The practical significance of the results of the study is that based on the understanding of the need to nurture the creative thinking of modern directors of theatrical forms and art projects in accordance with the requirements of both Ukrainian civil society and professional requirements.
本文旨在分析在“动作导演”背景下，乌克兰人民英勇抵抗俄罗斯侵略在现代戏剧艺术形式中的反映。研究上述问题的主要方法论工具是对一套戏剧艺术形式进行形式的和艺术科学的分析，在我们看来，这些艺术形式在今天形成了一定的戏剧环境。对这种符号环境的研究所依据的一套重要观念是与某种“符号场”的形成有关的观念。除了古典欧洲哲学对“符号”概念的解释外，20世纪哲学家和文化科学家的思想仍然有效。(选自罗素、杜威、卡尔纳普、皮亚杰。E. cassiera, S. Langer, A. Whitehead, K. G. Jung, T. Todorov, O. F. Losev, Yu。M. Lotman, R. Eshelman, J. Birringer等)，他们考虑了“动作导演”在形成现代艺术形式和符号表达中的各个方面的实施。由Guy Debord, R. Caiua, B. Massumi, R. Eshelman, J. Birringer和其他人证实的方法在研究问题的各个方面似乎在方法上也很重要。本文提出的研究结果是对乌克兰抵抗俄罗斯侵略期间“行动指导”背景下实施的主要戏剧形式和艺术实践的理解。文章中提出的研究的科学新颖性在于理解在俄罗斯侵略乌克兰的活跃阶段由乌克兰艺术家和乌克兰社会创造的各种类型取向的项目。文章论证了乌克兰公民社会在“行动指导”的语境中，运用原型和超现代的比喻和语义结构来象征其反对，并加以实施。该研究结果的实际意义在于，基于对需要根据乌克兰民间社会和专业要求培养现代戏剧形式和艺术项目导演的创造性思维的理解。
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Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.02
O. Olenina, O. Protsenko, Y. Pichuhina
The article examines the status of art in the digital space that is based on the study of technologically determined changes in the three main vectors of the system: production, consumption and circulation of art. In this context, the research task related to the definition of aspects of transformation and diversification of the art system in the formation of digital culture of modern society is relevant and scientifically determined, which ultimately gives us an understanding of the status of art in modern digital space. The multifaceted nature of the proposed research topic foresees the use of approaches of a number of humanities disciplines, first of all art history, culturology, social communications and philosophy. The authors found out how the process of artistic creation, the nature of artistic communication, the means of presentation and promotion of an artistic product, and the mechanisms of its consumption are changing in the conditions of society digitalization.
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Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.16
S. Rybalko
The Sakura blossom is one of the most constant and recognizable visual symbols of Japanese culture. Its presence in various phenomena of artistic activity over the centuries forms a significant plot-topical complex. Therefore, the study of the origins, content transformations, reasons and means of broadcasting the image of Sakura will allow us to develop a panoramic vision of Japanese culture. The purpose of the article is to highlight the main stages of the evolution of the Sakura cult and its interpretation in various visual practices. In the research we used the methods of comparative, stylistic, semantic and content analysis. The source basis consists of pictorial and graphic works, samples of applied and audiovisual arts, materials of visual practices and field researches conducted by the author in 2005–2013 in Kanto and Kansai regions. The results. The article examines the origins and peculiarities of the formation of a plot-topical complex associated with the flowering of Sakura blossoms in Japanese culture, identifies the main stages of the evolution of the image of Sakura blossoms from seasonal to national and propaganda symbol. Special attention is paid to the interpretation of the image of Sakura in Shinto and Buddhism, the development of the o-hanami tradition as a religious and social-communicative practice. On the basis of the analysis of works of painting, engraving (ukiyo-e, shin-hanga), works of audiovisual culture, the leading motifs that reflect the semantic diversity of the image of Sakura and its meaningful transformations are highlighted. The role of the poetic tradition in the development of plots related to Sakura, the presence of references to classical poems in the structure of the works are emphasized. A group of the most widespread images-identifiers of flowering is defined: places (Yoshino, Arashiyama, Gotenyama), seasons (spring), poems, persons (beauty, samurai, kamikaze), historical figures (Ono-no Komachi, Hideyoshi), temples (Yasukuni).
{"title":"Image of Sakura in the visual culture of Japan: origins and transformations","authors":"S. Rybalko","doi":"10.31516/2410-5325.078.16","DOIUrl":"https://doi.org/10.31516/2410-5325.078.16","url":null,"abstract":"The Sakura blossom is one of the most constant and recognizable visual symbols of Japanese culture. Its presence in various phenomena of artistic activity over the centuries forms a significant plot-topical complex. Therefore, the study of the origins, content transformations, reasons and means of broadcasting the image of Sakura will allow us to develop a panoramic vision of Japanese culture. \u0000The purpose of the article is to highlight the main stages of the evolution of the Sakura cult and its interpretation in various visual practices. \u0000In the research we used the methods of comparative, stylistic, semantic and content analysis. The source basis consists of pictorial and graphic works, samples of applied and audiovisual arts, materials of visual practices and field researches conducted by the author in 2005–2013 in Kanto and Kansai regions. \u0000The results. The article examines the origins and peculiarities of the formation of a plot-topical complex associated with the flowering of Sakura blossoms in Japanese culture, identifies the main stages of the evolution of the image of Sakura blossoms from seasonal to national and propaganda symbol. Special attention is paid to the interpretation of the image of Sakura in Shinto and Buddhism, the development of the o-hanami tradition as a religious and social-communicative practice. On the basis of the analysis of works of painting, engraving (ukiyo-e, shin-hanga), works of audiovisual culture, the leading motifs that reflect the semantic diversity of the image of Sakura and its meaningful transformations are highlighted. The role of the poetic tradition in the development of plots related to Sakura, the presence of references to classical poems in the structure of the works are emphasized. A group of the most widespread images-identifiers of flowering is defined: places (Yoshino, Arashiyama, Gotenyama), seasons (spring), poems, persons (beauty, samurai, kamikaze), historical figures (Ono-no Komachi, Hideyoshi), temples (Yasukuni).","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49206655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.09
O. Mukhin
The purpose of this article is the analysis of new stage in American space fiction cinema’s history, which started from the XXI century and set the new directions for genre, which were shown in movies “The Martian” (2015, director — R. Scott), “Guardians of the Galaxy” (2014, director — J. Gunn), “Interstellar” (2014, director — K. Nolan), “Thor” (2011, director — K. Brannah), “Ad Astra” (2019, director — J. Gray), “Avengers” (2012, director — J. Whedon). The methodology of this article includes the use of historical, comparative and systematic methods. Each of these methods helps to reveal the place of space fiction’s new era in the whole history of this genre in XX–XXI centuries, and to find the cultural senses and messages, which the new stage proposes to society. The results of this work present a detailed survey of newest stage of American cinema space fiction in XXI century and key directions, for which the new films are produced. Moreover, this work reveals how these directions from new stage influence on the genre’s perspectives and development in the future. The scientific novelty of the research. This work fills the gap of cultural studies dedicated to the topic of the article, as the vast majority of materials that analyze the theme of fantasy in cinema are humanitarian. The practical significance of the article. The article will be useful for scholars who want to expand their knowledge on the topic mentioned in the title, as well as for anyone interested in cinema, science fiction, American cinematography and media culture in general.
{"title":"XXI century as a cultural turn in American space fiction cinema","authors":"O. Mukhin","doi":"10.31516/2410-5325.078.09","DOIUrl":"https://doi.org/10.31516/2410-5325.078.09","url":null,"abstract":"The purpose of this article is the analysis of new stage in American space fiction cinema’s history, which started from the XXI century and set the new directions for genre, which were shown in movies “The Martian” (2015, director — R. Scott), “Guardians of the Galaxy” (2014, director — J. Gunn), “Interstellar” (2014, director — K. Nolan), “Thor” (2011, director — K. Brannah), “Ad Astra” (2019, director — J. Gray), “Avengers” (2012, director — J. Whedon). \u0000The methodology of this article includes the use of historical, comparative and systematic methods. Each of these methods helps to reveal the place of space fiction’s new era in the whole history of this genre in XX–XXI centuries, and to find the cultural senses and messages, which the new stage proposes to society. \u0000The results of this work present a detailed survey of newest stage of American cinema space fiction in XXI century and key directions, for which the new films are produced. Moreover, this work reveals how these directions from new stage influence on the genre’s perspectives and development in the future. \u0000The scientific novelty of the research. This work fills the gap of cultural studies dedicated to the topic of the article, as the vast majority of materials that analyze the theme of fantasy in cinema are humanitarian. \u0000The practical significance of the article. The article will be useful for scholars who want to expand their knowledge on the topic mentioned in the title, as well as for anyone interested in cinema, science fiction, American cinematography and media culture in general.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49535881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.10
N. Bielik-Zolotarova
The purpose of the study provides a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko creating process coverage. The methodology. Methodological principles are based on the historicism, genre-stylistic, intonation-dramaturgical and interpretive types of analysis, that are used to create a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko. The results. The development of the conductor’s concept is a process that covers worldview, analytical and creative-executive systemic levels. A conductor-choirmaster, first of all, must understand the artistic idea due to which V. Kyreiko combined the national philosopher’s poems into a choral diptych. In the first chorus “Ah, the fields” (“Akh, polia”), the essence of H. Skovoroda’s pantheistic doctrine is revealed, enriched with choral means of expression: sound imagery, antiphons between female and male choirs, nominal “dialogues”, a combination of diatonicism and tart, rich harmonies with a dynamic pastel palette. As a result, it creates an image of the Eden Garden, where the hero finds peace and happiness. The second chorus of the diptych “Seeing this life’s woes” (“Vydia zhytiya seho ya hore”) represents the hero’s difficult path to God and to understanding His mercy. The composer creates an artistic sound image due to monody, ostinato, sound imagery, multi-layer character, symbolism, textural and stroke diversity, contrasting dynamics and pleading intonations, the origins of which are found in a national folklore. Two choruses by V. Kyreiko on the H. Skovoroda’s texts, while revealing the spiritual meaning of the brilliant Ukrainian philosopher’s poems, receive features of the neo-baroque style due to the introduction into the XX century’s sound-space of the XVIII century’s poetic heritage, and rhetorical figures (symbols of the Baroque era) introduction into the musical canvas of the choral works. The chorus “Seeing this life’s woes” contains a Renaissance opposition: despair — hope, and chorus “Ah, the fields” represents the beauty cult, which gives the choral diptych Neo-Renaissance features. Despite the genre and figurative contrasts of these compositions (choral miniature-scenery and dramatic monologue), let’s emphasize the common features between the choral work by V. Kyreiko and the poetic primary source, which directs the development of choral dramaturgy. The use of couplets as a song carrier, which follows the structure of H. Skovoroda’s poems-songs, appears developed and enriched. The movement acceleration is facilitated by the comparison of sections in chorus “Seeing this life’s woes”, which are built according to the contrast principle, and concert baroque style in chorus “Ah, the fields”. In the choral compositions’ finales, the rhythmic and harmonic unity of the choral array reaches the highest culmination and provides “Two choruses on H. Skovoroda’s poems” with a logical completion in the disclosure of the artistic content. A
本研究的目的是提供一个指挥家的概念，“对H. Skovoroda的诗歌的两个合唱”由维塔利Kyreiko创建过程覆盖。的方法。方法论原则是基于历史主义、体裁-风格、语调-戏剧和解释类型的分析，这些分析被用来创造一个指挥家的概念，即维塔利·京列子的“斯科沃罗达诗歌的两个合唱”。结果。指挥家概念的发展是一个涵盖世界观、分析和创造性执行系统层面的过程。作为一名指挥兼唱诗班指挥，首先要了解Kyreiko将民族哲学家的诗歌组合成合唱双联的艺术理念。在第一首合唱“啊，田野”(“Akh, polia”)中，H. Skovoroda的泛神论教义的精髓被揭示出来，并通过合唱的表达方式得到了丰富:声音意象，男女合唱团之间的对唱，名义上的“对话”，全音阶和充满活力的柔和调色板的尖锐而丰富的和声的结合。因此，它创造了一个伊甸园的形象，在那里英雄找到了和平和幸福。这幅双联画的第二首副歌“看到今生的悲哀”(“Vydia zhytiya seho ya hoe”)代表了主人公走向上帝并理解他的仁慈的艰难道路。单音、固定音、声象、层次性、象征主义、肌理和笔触的多样性、动态的对比和央求的语调，这些都来源于民族民间传说。V. Kyreiko在H. Skovoroda的文本上创作的两首合唱，在揭示这位杰出的乌克兰哲学家诗歌的精神意义的同时，由于将18世纪的诗歌遗产引入20世纪的声音空间，并将修辞人物(巴洛克时代的象征)引入合唱作品的音乐canvas，因此获得了新巴洛克风格的特征。合唱“看到这一生的悲哀”包含了文艺复兴时期的对立:绝望-希望，合唱“啊，田野”代表了对美的崇拜，这使合唱双联具有了新文艺复兴时期的特征。尽管这些作品(合唱微景和戏剧独白)的体裁和形象反差很大，但让我们强调Kyreiko的合唱作品与指导合唱戏剧发展的诗歌原始来源之间的共同特征。对联作为歌曲载体的运用，沿袭了斯科沃罗达的诗-歌结构，显得更加发达和丰富。根据对比原则构建的合唱“see this life’s悲哀”的小节与合唱“啊，田野”的音乐会巴洛克风格的对比，促进了乐章的加速。在合唱作品的终曲中，合唱阵容的节奏和和声的统一达到了最高的高潮，为“斯科沃罗达诗歌的两首合唱”提供了一个在艺术内容的揭示上合乎逻辑的完成。一位指挥家对斯科沃罗达由V. Kyreiko创作的双联画的概念代表了两个世界:尘世和天堂，在那里英雄灵魂的更新，寻找与自然和谐相处的幸福之路，并希望在最高的世界里得到上帝的怜悯和拯救。这一理念必须在唱诗班指挥的指导下，在唱诗班的表演解读中得以实现。科学的新奇。科学的新颖性在于对京列子的指挥家“斯科沃罗达诗歌双合唱”概念的发展，这将有助于其在合唱再现中的实现。现实意义。所获得的结果的实际意义是由需要找到一个合适的作曲家意图解释的指挥概念所决定的。
{"title":"“Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko: conductor’s concept","authors":"N. Bielik-Zolotarova","doi":"10.31516/2410-5325.078.10","DOIUrl":"https://doi.org/10.31516/2410-5325.078.10","url":null,"abstract":"The purpose of the study provides a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko creating process coverage. \u0000The methodology. Methodological principles are based on the historicism, genre-stylistic, intonation-dramaturgical and interpretive types of analysis, that are used to create a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko. \u0000The results. The development of the conductor’s concept is a process that covers worldview, analytical and creative-executive systemic levels. A conductor-choirmaster, first of all, must understand the artistic idea due to which V. Kyreiko combined the national philosopher’s poems into a choral diptych. In the first chorus “Ah, the fields” (“Akh, polia”), the essence of H. Skovoroda’s pantheistic doctrine is revealed, enriched with choral means of expression: sound imagery, antiphons between female and male choirs, nominal “dialogues”, a combination of diatonicism and tart, rich harmonies with a dynamic pastel palette. As a result, it creates an image of the Eden Garden, where the hero finds peace and happiness. The second chorus of the diptych “Seeing this life’s woes” (“Vydia zhytiya seho ya hore”) represents the hero’s difficult path to God and to understanding His mercy. The composer creates an artistic sound image due to monody, ostinato, sound imagery, multi-layer character, symbolism, textural and stroke diversity, contrasting dynamics and pleading intonations, the origins of which are found in a national folklore. Two choruses by V. Kyreiko on the H. Skovoroda’s texts, while revealing the spiritual meaning of the brilliant Ukrainian philosopher’s poems, receive features of the neo-baroque style due to the introduction into the XX century’s sound-space of the XVIII century’s poetic heritage, and rhetorical figures (symbols of the Baroque era) introduction into the musical canvas of the choral works. The chorus “Seeing this life’s woes” contains a Renaissance opposition: despair — hope, and chorus “Ah, the fields” represents the beauty cult, which gives the choral diptych Neo-Renaissance features. \u0000Despite the genre and figurative contrasts of these compositions (choral miniature-scenery and dramatic monologue), let’s emphasize the common features between the choral work by V. Kyreiko and the poetic primary source, which directs the development of choral dramaturgy. The use of couplets as a song carrier, which follows the structure of H. Skovoroda’s poems-songs, appears developed and enriched. The movement acceleration is facilitated by the comparison of sections in chorus “Seeing this life’s woes”, which are built according to the contrast principle, and concert baroque style in chorus “Ah, the fields”. In the choral compositions’ finales, the rhythmic and harmonic unity of the choral array reaches the highest culmination and provides “Two choruses on H. Skovoroda’s poems” with a logical completion in the disclosure of the artistic content. A","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44762659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-23DOI: 10.31516/2410-5325.078.12
S. Manko
The relevance of the article. Currently, at the stage of the war in Ukraine, we simply cannot underestimate the power that the domestic variety vocal art can bring and develop. It can raise the spirit of the Ukrainian people and for the sake of uniting everybody against foreign aggression. Therefore, the study of creativity of domestic performers during the war is undoubtedly the most relevant topic in modern music. The purpose of the article is to study the functioning of variety vocal art during wartime in the musical space of Ukraine at the current stage. This purpose leads us to solve certain tasks that will help to explore different aspects of this process. Namely, to conduct an analysis of the contemporary creativity of Ukrainian artists in a patriotic context and to single out the main trends according to which the variety art of the country is currently develo-ping, in order to realize its importance for defeating the enemy. The methodology. The following general and special approaches are used in the work: comparative-analytical, structural-functional, induction and empirical approach. All the mentioned approaches made it possible to consider the problems of the article more comprehensively and reveal its tasks. The results. The activity of Ukrainian artists during the wartime is considered. It was noted that for domestic performers, the writing and implemen-tation of motivational compositions dictated by the modern realities of war is a mandatory element of their creativity, because their main task is to inspire with songs for victory and raise the spirit of the Ukrainian people. The importance of events, both regarding volunteer concerts for soldiers and performances at special fundraising events to help the Armed Forces in our country and abroad, was emphasized. The scientific novelty. The main trends in the functioning and development of the vocal variety art at the modern stage in Ukraine were identified. It has been proven that the activities of domestic artists are an important inspiring aspect for society. The importance of all considered trends for the country’s victory was also analyzed. The practical significance. The results obtained in the course of the research can be useful, in particular, for variety performers, as well as for studying such courses as the history and theory of modern music of Ukraine, the history and theory of vocal performance, and for understanding the important directions of the development of variety vocal art during the war. Conclusions. Having examined the panorama of the functioning of the domestic variety art nowadays, certain vector trends in the variety music art were identified, which shape its general development during the wartime. Thus, modern songs of our Ukrainian artists are energetically charged for success and help compatriots not to break down and to be filled with energy from music and lyrics that give strength to the people and inspire victory, and allow people all over the w
{"title":"Development trends of variety art during the wartime","authors":"S. Manko","doi":"10.31516/2410-5325.078.12","DOIUrl":"https://doi.org/10.31516/2410-5325.078.12","url":null,"abstract":"The relevance of the article. Currently, at the stage of the war in Ukraine, we simply cannot underestimate the power that the domestic variety vocal art can bring and develop. It can raise the spirit of the Ukrainian people and for the sake of uniting everybody against foreign aggression. Therefore, the study of creativity of domestic performers during the war is undoubtedly the most relevant topic in modern music. \u0000The purpose of the article is to study the functioning of variety vocal art during wartime in the musical space of Ukraine at the current stage. This purpose leads us to solve certain tasks that will help to explore different aspects of this process. Namely, to conduct an analysis of the contemporary creativity of Ukrainian artists in a patriotic context and to single out the main trends according to which the variety art of the country is currently develo-ping, in order to realize its importance for defeating the enemy. \u0000The methodology. The following general and special approaches are used in the work: comparative-analytical, structural-functional, induction and empirical approach. All the mentioned approaches made it possible to consider the problems of the article more comprehensively and reveal its tasks. \u0000The results. The activity of Ukrainian artists during the wartime is considered. It was noted that for domestic performers, the writing and implemen-tation of motivational compositions dictated by the modern realities of war is a mandatory element of their creativity, because their main task is to inspire with songs for victory and raise the spirit of the Ukrainian people. \u0000The importance of events, both regarding volunteer concerts for soldiers and performances at special fundraising events to help the Armed Forces in our country and abroad, was emphasized. \u0000The scientific novelty. The main trends in the functioning and development of the vocal variety art at the modern stage in Ukraine were identified. It has been proven that the activities of domestic artists are an important inspiring aspect for society. The importance of all considered trends for the country’s victory was also analyzed. \u0000The practical significance. The results obtained in the course of the research can be useful, in particular, for variety performers, as well as for studying such courses as the history and theory of modern music of Ukraine, the history and theory of vocal performance, and for understanding the important directions of the development of variety vocal art during the war. \u0000Conclusions. Having examined the panorama of the functioning of the domestic variety art nowadays, certain vector trends in the variety music art were identified, which shape its general development during the wartime. \u0000Thus, modern songs of our Ukrainian artists are energetically charged for success and help compatriots not to break down and to be filled with energy from music and lyrics that give strength to the people and inspire victory, and allow people all over the w","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43205646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-28DOI: 10.31516/2410-5325.077.11
O. Klimova
The purpose of this article is to analyze the subject of musical intention and its role in the communicative processes of the performing form of a variety vocal ensemble. The study of scientific publications on the topic revealed that the concept of intention is thoroughly researched in the field of philosophy, but in musicology, especially in its variety field, it has not been studied enough. The relevance of the chosen topic is due to the growing popularity of vocal ensembles on the modern stage and insufficient theoretical understanding of the processes within this form of performance. The methodology. In the course of this study, we used the following general and special methods: structural-functional, comparative-analytical, sys-tem-comparative, induction method, functional and empirical. In combination, all these methods of scientific knowledge allow a wider and more detailed study of the specifics of the creative activity of a variety vocal ensemble. The results. The subject of musical intention, as well as the participants in this process in the vocal ensemble, are highlighted. The influence of musical intention on the efficiency and success of the functioning of this performing form is analyzed. On the basis of our performing and teaching practice, as well as as a result of theoretical and empirical research, we come to the conclusion that the musical intention is of paramount importance at all stages of the creative activity of the variety vocal ensemble performing form and plays a key role in its development. The scientific novelty. For the first time, the phenomenon of musical intention is studied as the main principle of the creative activity of a variety vocal ensemble. This subject is considered not only as an abstract phenomenon, but as the main link in all communication processes of the modern variety vocal ensemble. The practical significance. The results obtained can be actively applied in the practice of existing professional ensembles, educational vocal groups, as well as in amateur ensemble creativity. The application of the principles of intentionality will help artistic directors and performers to work more effectively and professionally with the performing form of a variety vocal ensemble.
{"title":"Musical intention as a mean of communication in variety vocal ensemble","authors":"O. Klimova","doi":"10.31516/2410-5325.077.11","DOIUrl":"https://doi.org/10.31516/2410-5325.077.11","url":null,"abstract":"The purpose of this article is to analyze the subject of musical intention and its role in the communicative processes of the performing form of a variety vocal ensemble. The study of scientific publications on the topic revealed that the concept of intention is thoroughly researched in the field of philosophy, but in musicology, especially in its variety field, it has not been studied enough. \u0000The relevance of the chosen topic is due to the growing popularity of vocal ensembles on the modern stage and insufficient theoretical understanding of the processes within this form of performance. \u0000The methodology. In the course of this study, we used the following general and special methods: structural-functional, comparative-analytical, sys-tem-comparative, induction method, functional and empirical. In combination, all these methods of scientific knowledge allow a wider and more detailed study of the specifics of the creative activity of a variety vocal ensemble. \u0000The results. The subject of musical intention, as well as the participants in this process in the vocal ensemble, are highlighted. The influence of musical intention on the efficiency and success of the functioning of this performing form is analyzed. On the basis of our performing and teaching practice, as well as as a result of theoretical and empirical research, we come to the conclusion that the musical intention is of paramount importance at all stages of the creative activity of the variety vocal ensemble performing form and plays a key role in its development. \u0000The scientific novelty. For the first time, the phenomenon of musical intention is studied as the main principle of the creative activity of a variety vocal ensemble. This subject is considered not only as an abstract phenomenon, but as the main link in all communication processes of the modern variety vocal ensemble. \u0000The practical significance. The results obtained can be actively applied in the practice of existing professional ensembles, educational vocal groups, as well as in amateur ensemble creativity. The application of the principles of intentionality will help artistic directors and performers to work more effectively and professionally with the performing form of a variety vocal ensemble.","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45139902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-28DOI: 10.31516/2410-5325.077.01
A. Alfiorov, Z. Alfiorova
The purpose of the article is to analyze the morphological transformations of the audiovisual sphere and the sphere of creative industries in the first quarter of the XXI century. The object is the audiovisual sphere and the sphere of creative industries. The subject is morphological transformations in the specified areas in the first quarter of the XXI century. The relevance of this article lies in the need to understand the convergence of the morphological foundations of the audiovisual sphere with the morphology of modern creative industries and their mutual transformations. The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological methodological discourse. It is noted that in Ukraine, the school and directions of research of Ukrainian morphologists are only being formed. In the works of T. Borsunivska (theory of literary genres), I. Yurchenko (visual and morphological regularities of ornament) and some others, only certain local aspects of morphological issues were considered. The authors of the mentioned article also published works related to the principles of the functioning of the morphological system of audiovisual art in the modern age, its formation, etc. The article takes into account the concepts of post-industrial society by D. Bell, the concepts of information society and society of network structures by M. Castells. interesting concepts of “creative economy” by J. Hawkins, “cultural economy” by D. Throsby and A. J. Scott, “flowing modernity” by Z. Bauman, etc. The results. 1. Periodization of morphological transformations of the first quarter of the XXI century, which included two stages — from the 2000s to the 2010s — changes at the stage of “primary” digitization; from 2011 to today — at the stage of “secondary” digitization. A comparative analysis of these changes in both spheres of the West and Ukraine in the temporal dimension shows that in our country there is a certain delay in “secondary” digitization, both for objective reasons (the COVID-19 pandemic; the Russian-Ukrainian war) and sub-objective (insufficient development of the digitized Ukrainian environment). However, Ukraine strives to overcome these shortcomings. 2. The conclusion that in the temporal dimension both spheres, both in the West and in Ukraine, were morphologically structured almost synchronously, although they had different morphological sources of this structuring 3. The conclusion that in the spatial dimension, the transformations touched on the level of formation — changes in the “boundaries” of the “internal” and “external” space of both audiovisual artistic form and creative practice; at the level of species and genre creation — in a significant strengthening of the non-hierarchical nature of both spheres (and therefore turbulence) and an almost complete transition to a network type of functioning. There is
{"title":"Audiovisual sphere and creative industries: morphological transformations in the first quarter of the XXI century","authors":"A. Alfiorov, Z. Alfiorova","doi":"10.31516/2410-5325.077.01","DOIUrl":"https://doi.org/10.31516/2410-5325.077.01","url":null,"abstract":"The purpose of the article is to analyze the morphological transformations of the audiovisual sphere and the sphere of creative industries in the first quarter of the XXI century. The object is the audiovisual sphere and the sphere of creative industries. The subject is morphological transformations in the specified areas in the first quarter of the XXI century. The relevance of this article lies in the need to understand the convergence of the morphological foundations of the audiovisual sphere with the morphology of modern creative industries and their mutual transformations. \u0000The methodology of the theoretical analysis in this article is based on both the whole complex of ideas related to the object of research and a specific scientific toolkit formed by the morphological methodological discourse. It is noted that in Ukraine, the school and directions of research of Ukrainian morphologists are only being formed. In the works of T. Borsunivska (theory of literary genres), I. Yurchenko (visual and morphological regularities of ornament) and some others, only certain local aspects of morphological issues were considered. The authors of the mentioned article also published works related to the principles of the functioning of the morphological system of audiovisual art in the modern age, its formation, etc. The article takes into account the concepts of post-industrial society by D. Bell, the concepts of information society and society of network structures by M. Castells. interesting concepts of “creative economy” by J. Hawkins, “cultural economy” by D. Throsby and A. J. Scott, “flowing modernity” by Z. Bauman, etc. \u0000The results. 1. Periodization of morphological transformations of the first quarter of the XXI century, which included two stages — from the 2000s to the 2010s — changes at the stage of “primary” digitization; from 2011 to today — at the stage of “secondary” digitization. A comparative analysis of these changes in both spheres of the West and Ukraine in the temporal dimension shows that in our country there is a certain delay in “secondary” digitization, both for objective reasons (the COVID-19 pandemic; the Russian-Ukrainian war) and sub-objective (insufficient development of the digitized Ukrainian environment). However, Ukraine strives to overcome these shortcomings. 2. The conclusion that in the temporal dimension both spheres, both in the West and in Ukraine, were morphologically structured almost synchronously, although they had different morphological sources of this structuring 3. The conclusion that in the spatial dimension, the transformations touched on the level of formation — changes in the “boundaries” of the “internal” and “external” space of both audiovisual artistic form and creative practice; at the level of species and genre creation — in a significant strengthening of the non-hierarchical nature of both spheres (and therefore turbulence) and an almost complete transition to a network type of functioning. There is ","PeriodicalId":33223,"journal":{"name":"Kul''tura Ukrayini","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46669503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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