The purpose of the article is to find out how the full-scale Russian-Ukrainian war and today's technological innovations affected the artistic community, the themes and the creative methods of Ukrainian digital art. The authors of the investigation, on the one hand, consider the digital works of Nikita Titov, Albina Yaloza, Kateryna Lisova, Mykhailo Rai, Oksana Chepelyk, Yulia Shibirkina, Zibra AI, ZViT, Beata Kurkul and Maria Sharlai, and others, and on the other hand, they highlight the biggest events related to the demonstration of digital art, in particular, “Artists support Ukraine”, “Meta History: Museum of War”, “Peace Letters to Ukraine”, “Art on the battlefront”, “UBIENNALE”, “Ukrainian wartime poster”, and others. The analysis of the collected material revealed that the vast majority of war posters are works of digital art, which in general has become one of the leading media in the work of Ukrainian artists. On the one hand, this was the result of a number of steps taken by the Ukrainian authorities aimed at liberalizing the cryptocurrency market, and encouraging computer game developers to fundraise with the help of NFT in support of Ukraine, on the other hand, the threat of Russian air attacks prompted representatives of the creative class to transfer a significant part of their activity to online, and see the benefits of digital art, which, compared to most traditional media, requires significantly less effort and resources to create, securely store, sell and display. The use of neural networks as a tool to create digital art has become one of the trends in war-themed art, but no catastrophic changes for visual art and design have been detected yet. A significant historical event after February 24, 2022 was the unprecedented support of Ukraine from the world cultural community, in particular, international developers of computer games, as well as famous artists of contemporary art, including Marina Abramovych, Ron Arad, Banksy, Francesco Vezzoli, Nan Goldin, Douglas Gordon, Ivan Messak, Lorenzo Quinn, Luke Tuymans, and others.
{"title":"UKRAINIAN DIGITAL ART DURING THE FULL-SCALE RUSSIAN-UKRAINIAN WAR","authors":"ANDRIY SYDORENKO, ASMATI CHIBALASHVILI, IHOR SHALINSKYI, SVIATOSLAV BERDYNSKIKH, VIKTORIYA MAZUR","doi":"10.33543/j.130237.125130","DOIUrl":"https://doi.org/10.33543/j.130237.125130","url":null,"abstract":"The purpose of the article is to find out how the full-scale Russian-Ukrainian war and today's technological innovations affected the artistic community, the themes and the creative methods of Ukrainian digital art. The authors of the investigation, on the one hand, consider the digital works of Nikita Titov, Albina Yaloza, Kateryna Lisova, Mykhailo Rai, Oksana Chepelyk, Yulia Shibirkina, Zibra AI, ZViT, Beata Kurkul and Maria Sharlai, and others, and on the other hand, they highlight the biggest events related to the demonstration of digital art, in particular, “Artists support Ukraine”, “Meta History: Museum of War”, “Peace Letters to Ukraine”, “Art on the battlefront”, “UBIENNALE”, “Ukrainian wartime poster”, and others. The analysis of the collected material revealed that the vast majority of war posters are works of digital art, which in general has become one of the leading media in the work of Ukrainian artists. On the one hand, this was the result of a number of steps taken by the Ukrainian authorities aimed at liberalizing the cryptocurrency market, and encouraging computer game developers to fundraise with the help of NFT in support of Ukraine, on the other hand, the threat of Russian air attacks prompted representatives of the creative class to transfer a significant part of their activity to online, and see the benefits of digital art, which, compared to most traditional media, requires significantly less effort and resources to create, securely store, sell and display. The use of neural networks as a tool to create digital art has become one of the trends in war-themed art, but no catastrophic changes for visual art and design have been detected yet. A significant historical event after February 24, 2022 was the unprecedented support of Ukraine from the world cultural community, in particular, international developers of computer games, as well as famous artists of contemporary art, including Marina Abramovych, Ron Arad, Banksy, Francesco Vezzoli, Nan Goldin, Douglas Gordon, Ivan Messak, Lorenzo Quinn, Luke Tuymans, and others.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135039893","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}
OLEKSANDRA SAPSOVYCH, LIANG ZHENYU, LI ZIYU, LI YANFEI, LI ZHICHAO
The purpose of the research presented in the article is to reveal some features of the differentiation and integration of emotions in music and musical performing activities. The article reveals the multifaceted nature of the psychological concepts of “emotional intelligence” in relation to musical performing creativity. An attempt is made to search for the significance of the development of emotional intelligence in achieving the unity of technical and artistic-imaginative, logical-constructive and emotional-sensual, reflective and intuitive, reproductive and creative principles in musical and instrumental performance. It is shown that in the conditions of musical performance, emotional intelligence receives a specific refraction, determined by the characteristics of musical and artistic activity. This is manifested in the development of such qualities as managing own emotions, self-motivation, empathy, etc.
{"title":"EMOTIONAL INTELLIGENCE OF A MUSICIAN-PERFORMER","authors":"OLEKSANDRA SAPSOVYCH, LIANG ZHENYU, LI ZIYU, LI YANFEI, LI ZHICHAO","doi":"10.33543/j.130237.7881","DOIUrl":"https://doi.org/10.33543/j.130237.7881","url":null,"abstract":"The purpose of the research presented in the article is to reveal some features of the differentiation and integration of emotions in music and musical performing activities. The article reveals the multifaceted nature of the psychological concepts of “emotional intelligence” in relation to musical performing creativity. An attempt is made to search for the significance of the development of emotional intelligence in achieving the unity of technical and artistic-imaginative, logical-constructive and emotional-sensual, reflective and intuitive, reproductive and creative principles in musical and instrumental performance. It is shown that in the conditions of musical performance, emotional intelligence receives a specific refraction, determined by the characteristics of musical and artistic activity. This is manifested in the development of such qualities as managing own emotions, self-motivation, empathy, etc.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135039289","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}
WOJCIECH SŁOMSKI, MICHAŁ LISIECKI, LESZEK KURNICKI, GAWEŁ JAROSIŃSKI
The article considers the main stages of European law-making, traces the historical development of the law of the European Union. European law is considered as a set of legal norms that regulate the relationships which develop within the framework of European integration associations. An attempt was made to reveal the role of the EU legal system in creating a political and legal space in which European legal and administrative norms operate; the structure and functions of the EU institutions are outlined in terms of assessing the degree of their supranationality. The main scientific and practical significance of this study lies, in particular, in the possibility of using its provisions to enrich the concept of the legal standing of international organizations.
{"title":"EUROPEAN LAW AS A LEGAL SYSTEM","authors":"WOJCIECH SŁOMSKI, MICHAŁ LISIECKI, LESZEK KURNICKI, GAWEŁ JAROSIŃSKI","doi":"10.33543/j.130237.611","DOIUrl":"https://doi.org/10.33543/j.130237.611","url":null,"abstract":"The article considers the main stages of European law-making, traces the historical development of the law of the European Union. European law is considered as a set of legal norms that regulate the relationships which develop within the framework of European integration associations. An attempt was made to reveal the role of the EU legal system in creating a political and legal space in which European legal and administrative norms operate; the structure and functions of the EU institutions are outlined in terms of assessing the degree of their supranationality. The main scientific and practical significance of this study lies, in particular, in the possibility of using its provisions to enrich the concept of the legal standing of international organizations.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135039892","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}
Attention is focused on the conceptual uncertainty in the critical issue of what should be the most optimal public administrative model for ensuring the state security of Ukraine in the current realities of the development of the strategic security environment. The article analyzes the national scientific achievements in the development of state security ensuring system of Ukraine as a fundamental public administration system which comprehensively covers, among other things, the state security sphere. Research of theoretical general methodological approaches to improving existing and developing new forms and methods of ensuring state security of Ukraine is presented, highlighting promising scientific and academic experience that can be useful for the development and improvement of the optimal public administrative model of ensuring state security of Ukraine. Considering the national scientific discourse on the categorical concepts of “state security”, “national security”, and “national security system”, the article examines the characteristics which should be inherent in a perfect system of ensuring state security, that should be developed in the Ukrainian State. The authors’ definition of the generalized concept of Ukraine’s security ensuring system is presented, considering the above analysis, and the critical tasks of Ukraine’s security ensuring system are detailed. Characteristic features of the state security system of Ukraine are identified: the system has to be manageable, observable, and identifiable; the system may contain destabilizing elements of subsystems; it is necessary to distinguish security levels based on the principle of their relative independence (“strategic-tactical-operational” or, for example, “national-district-regional-local” or “functional-sectoral”). Methodological approaches to developing a complementary public administrative model for ensuring the state security of Ukraine are proposed, which is intended to serve as a reliable tool for solving organizational and administrative tasks in the sphere of ensuring the state security of Ukraine.
{"title":"PUBLIC ADMINISTRATIVE MODEL OF THE STATE SECURITY ENSURING SYSTEM OF UKRAINE","authors":"OLEKSANDR ZIUZIA","doi":"10.33543/j.130237.4852","DOIUrl":"https://doi.org/10.33543/j.130237.4852","url":null,"abstract":"Attention is focused on the conceptual uncertainty in the critical issue of what should be the most optimal public administrative model for ensuring the state security of Ukraine in the current realities of the development of the strategic security environment. The article analyzes the national scientific achievements in the development of state security ensuring system of Ukraine as a fundamental public administration system which comprehensively covers, among other things, the state security sphere. Research of theoretical general methodological approaches to improving existing and developing new forms and methods of ensuring state security of Ukraine is presented, highlighting promising scientific and academic experience that can be useful for the development and improvement of the optimal public administrative model of ensuring state security of Ukraine. Considering the national scientific discourse on the categorical concepts of “state security”, “national security”, and “national security system”, the article examines the characteristics which should be inherent in a perfect system of ensuring state security, that should be developed in the Ukrainian State. The authors’ definition of the generalized concept of Ukraine’s security ensuring system is presented, considering the above analysis, and the critical tasks of Ukraine’s security ensuring system are detailed. Characteristic features of the state security system of Ukraine are identified: the system has to be manageable, observable, and identifiable; the system may contain destabilizing elements of subsystems; it is necessary to distinguish security levels based on the principle of their relative independence (“strategic-tactical-operational” or, for example, “national-district-regional-local” or “functional-sectoral”). Methodological approaches to developing a complementary public administrative model for ensuring the state security of Ukraine are proposed, which is intended to serve as a reliable tool for solving organizational and administrative tasks in the sphere of ensuring the state security of Ukraine.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135039887","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 : 2023-09-30DOI: 10.33543/j.130237.106111
IRYNA DRUZHHA, LIUBOV MANDZIUK, KOSTIANTYN NOVYTSKYI, NATALIA VODOLIEIEVA, IVAN PANASIUK
The study is devoted to the analysis of modern Ukrainian banduristics on the base of instrumental and vocal-instrumental music for bandura of the late 20th -21st centuries in the context of the latest performing and expressive means and techniques. The authors claim that among the varieties of modern musical content, bandura creativity is one of the most active and intensively developing areas, in particular, due to changes in the design of the instrument. One of the key theses of the article is that the rapid development of bandura music creativity in the second half of the 20th - 21st centuries is connected not only with the improvement of traditional ways of playing, but also with the expansion of the sphere of expressive possibilities of bandura due to the emergence of new performance techniques and means. Using the example of the work of modern Ukrainian composers, it is shown that modified traditional and modern means of expression are a relevant topic of modern banduristics. Nowadays, a concert bandurist has a significant set of technical tools in his arsenal, which make it possible to solve the multi-component tasks of reading the author's idea of a work.
{"title":"CHAMBER-INSTRUMENTAL CREATIVE WORKS OF UKRAINIAN COMPOSERS OF THE LATE 20TH AND EARLY 21ST CENTURIES: AN EXPERIMENTAL DISCOURSE","authors":"IRYNA DRUZHHA, LIUBOV MANDZIUK, KOSTIANTYN NOVYTSKYI, NATALIA VODOLIEIEVA, IVAN PANASIUK","doi":"10.33543/j.130237.106111","DOIUrl":"https://doi.org/10.33543/j.130237.106111","url":null,"abstract":"The study is devoted to the analysis of modern Ukrainian banduristics on the base of instrumental and vocal-instrumental music for bandura of the late 20th -21st centuries in the context of the latest performing and expressive means and techniques. The authors claim that among the varieties of modern musical content, bandura creativity is one of the most active and intensively developing areas, in particular, due to changes in the design of the instrument. One of the key theses of the article is that the rapid development of bandura music creativity in the second half of the 20th - 21st centuries is connected not only with the improvement of traditional ways of playing, but also with the expansion of the sphere of expressive possibilities of bandura due to the emergence of new performance techniques and means. Using the example of the work of modern Ukrainian composers, it is shown that modified traditional and modern means of expression are a relevant topic of modern banduristics. Nowadays, a concert bandurist has a significant set of technical tools in his arsenal, which make it possible to solve the multi-component tasks of reading the author's idea of a work.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135040049","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}
The article deals with the problems of applying in practice the civil procedural institution of securing a claim, the possibility of its extension to a wide range of circumstances. The grounds for interim measures satisfied by the court, as well as the issues of proving the need for their application in Ukraine and the EU countries, are highlighted. It is shown that although the institution of securing a claim contributes to the creation of optimal conditions for the real protection of the rights and legitimate interests of persons in civil proceedings, and namely the institution of securing a claim acts as a guarantee of the execution of a court decision, one cannot consider the meaning and essence of the definition of “interim measures” separately from such a fundamental concept as “a measure (form) of state coercion”, and the proportionality of the type of security is aimed mainly at protecting the rights of persons against whom measures are taken to secure a claim. The powers of the court to secure a claim in the civil process of Ukraine and the EU are considered, the current doctrinal provisions regarding the grounds and procedural order for securing a claim are analyzed, attention is focused on the essence of the discretionary powers of the court when taking measures to secure a claim. It is concluded that the application of measures to secure a claim should take place if there are grounds for this and justifications for the specified circumstances, taking into account the judicial practice of the EU countries as part of the need for judicial reform in Ukraine in the direction of ensuring its compliance with EU standards for potential member states.
{"title":"EUROPEAN STANDARDS OF THE RIGHTS OF THE PARTIES TO THE CASE IN THE APPLICATION OF CIVIL ACTION ENFORCEMENT MEASURES AND THEIR IMPLEMENTATION IN UKRAINE","authors":"DOMINIKA ROSŁOŃ, DANYLO LUKIANCHENKO, SERHII ZLENKO, OLEKSANDR KULIBABA, OLEKSANDR AKIMOV, LIUDMYLA AKIMOVA","doi":"10.33543/j.130237.1221","DOIUrl":"https://doi.org/10.33543/j.130237.1221","url":null,"abstract":"The article deals with the problems of applying in practice the civil procedural institution of securing a claim, the possibility of its extension to a wide range of circumstances. The grounds for interim measures satisfied by the court, as well as the issues of proving the need for their application in Ukraine and the EU countries, are highlighted. It is shown that although the institution of securing a claim contributes to the creation of optimal conditions for the real protection of the rights and legitimate interests of persons in civil proceedings, and namely the institution of securing a claim acts as a guarantee of the execution of a court decision, one cannot consider the meaning and essence of the definition of “interim measures” separately from such a fundamental concept as “a measure (form) of state coercion”, and the proportionality of the type of security is aimed mainly at protecting the rights of persons against whom measures are taken to secure a claim. The powers of the court to secure a claim in the civil process of Ukraine and the EU are considered, the current doctrinal provisions regarding the grounds and procedural order for securing a claim are analyzed, attention is focused on the essence of the discretionary powers of the court when taking measures to secure a claim. It is concluded that the application of measures to secure a claim should take place if there are grounds for this and justifications for the specified circumstances, taking into account the judicial practice of the EU countries as part of the need for judicial reform in Ukraine in the direction of ensuring its compliance with EU standards for potential member states.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135039890","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}
Yuliia Nikolaievska, I. Paliy, I. Denysenko, Olga Cherednychenko, Mykhailo Kuzhba, Igor Cherniavskyi, Youjie Wang, Qian Zeng
The article is devoted to the study of the genre and style paradigm of the etude for various instruments. The material includes opuses by J.F. Mazas (for violin), etudes for cymbals of the Shunda system, P. Jeanjean (for clarinet), Debussy, Bortkevich (for piano), and a number of modern etudes for wind instruments. Research methodology includes comparative and systemic approaches, performance analysis (identification of text components such as texture, rhythm, stroke, articulation, etc.). The genre is interpreted as an onto-semantic and communicative-interpretive system. The scientific novelty consists in formulating a stylistic paradigm of the etude genre for various instruments. The historical divergence of the presented examples of the genre (from the 18th to the 21st century) made it possible to mark the constant parity of the technical and artistic side (or didactic and artistic parameters); formulate signs of “blurring of boundaries” (erasing of the separation between academic and non-academic music, loss of relevance of dividing the etude repertoire for various instruments into methodical and artistic), which is characteristic of etudes of the late 20th and early 21st centuries. Research allowed revealing that in modern performing arts, the final transition of etudes from the status of musical material, which is practiced alone during closed rehearsals, to the status of concert works, which is demonstrated to the public, took place. It was concluded that virtuosity, which is the basis of performing art in etudes of various stylistic orientations, can present its high quality, which is a constant feature of the genre, that overcomes the boundaries of historical times and styles.
{"title":"STYLE PARADIGM OF THE INSTRUMENTAL ETUDE GENRE","authors":"Yuliia Nikolaievska, I. Paliy, I. Denysenko, Olga Cherednychenko, Mykhailo Kuzhba, Igor Cherniavskyi, Youjie Wang, Qian Zeng","doi":"10.33543/j.130235.1825","DOIUrl":"https://doi.org/10.33543/j.130235.1825","url":null,"abstract":"The article is devoted to the study of the genre and style paradigm of the etude for various instruments. The material includes opuses by J.F. Mazas (for violin), etudes for cymbals of the Shunda system, P. Jeanjean (for clarinet), Debussy, Bortkevich (for piano), and a number of modern etudes for wind instruments. Research methodology includes comparative and systemic approaches, performance analysis (identification of text components such as texture, rhythm, stroke, articulation, etc.). The genre is interpreted as an onto-semantic and communicative-interpretive system. The scientific novelty consists in formulating a stylistic paradigm of the etude genre for various instruments. The historical divergence of the presented examples of the genre (from the 18th to the 21st century) made it possible to mark the constant parity of the technical and artistic side (or didactic and artistic parameters); formulate signs of “blurring of boundaries” (erasing of the separation between academic and non-academic music, loss of relevance of dividing the etude repertoire for various instruments into methodical and artistic), which is characteristic of etudes of the late 20th and early 21st centuries. Research allowed revealing that in modern performing arts, the final transition of etudes from the status of musical material, which is practiced alone during closed rehearsals, to the status of concert works, which is demonstrated to the public, took place. It was concluded that virtuosity, which is the basis of performing art in etudes of various stylistic orientations, can present its high quality, which is a constant feature of the genre, that overcomes the boundaries of historical times and styles.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78150677","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}
N. Ostroukhova, Xiaowen Liu, Lyu Jing, Kongbo Tan, Yu Xinya
In the article, on the example of the performing arts of Maria Callas, it is shown that the so-called personification of the musical images of the opera, their visualization and their transition from the world of “pure music” to the stage space occurs through the phenomenon of combining melody and poetic text. It is logical to assume that such a change in the “proposed circumstances” in the opera in relation to the drama entails a transformation or, at least, an adjustment in the mechanism for bringing the actor's imagination to the state necessary for stage creativity. The research presents a singer-actor as part of the operatic text.
{"title":"INTERPRETIVE INNOVATIONS OF THE OPERA IMAGE IN THE CREATIVE DIALOGUE M. CALLAS - L. VISCONTI","authors":"N. Ostroukhova, Xiaowen Liu, Lyu Jing, Kongbo Tan, Yu Xinya","doi":"10.33543/j.130235.2630","DOIUrl":"https://doi.org/10.33543/j.130235.2630","url":null,"abstract":"In the article, on the example of the performing arts of Maria Callas, it is shown that the so-called personification of the musical images of the opera, their visualization and their transition from the world of “pure music” to the stage space occurs through the phenomenon of combining melody and poetic text. It is logical to assume that such a change in the “proposed circumstances” in the opera in relation to the drama entails a transformation or, at least, an adjustment in the mechanism for bringing the actor's imagination to the state necessary for stage creativity. The research presents a singer-actor as part of the operatic text.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90216120","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}
The article analyzes the features of organizing and holding art festivals under the restrictions associated with the COVID-19 pandemic that are relevant to the present. The significant role of digitalization and virtualization of works of art in the above processes is revealed. External challenges stimulated the search for new forms of organizing artistic events, as happened, for example, with The Virtual Collaborative Series, which became a temporary adapted version of the named annual event. We believe that a significant role in the process of searching for new communication strategies was played by technologies that make it possible to overcome spatial restrictions in the context of communication during a pandemic, in particular, we are talking about platforms for direct communication in the presence mode, etc.
{"title":"ART FESTIVALS IN THE CONTEXT OF THE COVID-19 PANDEMIC: THE SEARCH FOR NEW FORMATS","authors":"Olena Ivanova, Asmati Chibalashvili, Polina Kharchenko, Oksana Sapiha, Kateryna Polianska","doi":"10.33543/j.130235.3136","DOIUrl":"https://doi.org/10.33543/j.130235.3136","url":null,"abstract":"The article analyzes the features of organizing and holding art festivals under the restrictions associated with the COVID-19 pandemic that are relevant to the present. The significant role of digitalization and virtualization of works of art in the above processes is revealed. External challenges stimulated the search for new forms of organizing artistic events, as happened, for example, with The Virtual Collaborative Series, which became a temporary adapted version of the named annual event. We believe that a significant role in the process of searching for new communication strategies was played by technologies that make it possible to overcome spatial restrictions in the context of communication during a pandemic, in particular, we are talking about platforms for direct communication in the presence mode, etc.","PeriodicalId":44821,"journal":{"name":"AD ALTA-Journal of Interdisciplinary Research","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2023-07-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74508127","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 : 2023-07-12DOI: 10.33543/j.130235.207211
M. Chernyavska, Song Meixuan, Peng Rui
The article is devoted to the understanding of the problems faced by the performer of the works of Chinese composers. The lack of performance analysis of such works complicates their understanding and full implementation on stage. The purpose of this study is to identify the universal mechanism of piano interpretation of program pieces by Chinese composers, which functions in the entire variety of author's styles. At the same time, the issue of performance stylistics of piano works by Chinese composers appears in all its problem complexity: from understanding the figurative sphere, issues of pianistic implementation to the stylistic authenticity of performance. The process of formation of performance style in the works laid down by composers during the development of piano art in China is considered. A key role in the formation of the performance style of Chinese pianists was played by the activities of luminaries musicians who demonstrated the universality of musical creativity. The creative-aesthetic and didactic principles acquired by these musicians in different schools affected the manner of their individual writing, which, in turn, influenced the performance style of their works. Specific performance formulas of playing, uncharacteristic for European art sound coloristic techniques on the piano require the pianist to be able to choose a fingering that provides pianistic comfort and contributes to actual intonation and construction of melodic lines. The constant updating of the musical language of many piano works by Chinese authors allows talking about the continuous process of evolution of the national performing style.
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