Pub Date : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289851
Dmytro Holubov
The purpose of the study is to reveal the figurative, semantic and symbolic specificity of the interpretation of the timbre of "Ondes Martenot" in line with the musical, cultural, and socio-political guidelines of the World Exhibition in Paris in 1937. Research methodology. Cultural-historical, interdisciplinary historical-cultural, as well as analytical-musicological methods were essential for this work. The scientific novelty of the work lies in the fact that it introduces for the first time into the circulation of art historians the materials related to the musical component of the artistic events of the Paris World Exhibition of 1937, voiced, including with the help of the timbralness of the "Ondes Martenot", which became the personification of the union of art and technology as a leading symbol of its shares. Conclusions. Interwar France, being at the edge of a difficult socio-political and cultural situation, grasped at the saving idea for it – the holding of another "World's Fair" in 1937, the slogan of which was chosen as the thesis – "Art and technology in modern life". Achieving the set goals and demonstrating to the whole world the high-tech side of France's existence became possible thanks to the musical part of the exhibition, namely "concert-performances" and night shows on the banks of the Seine – "Holidays of sound, water and light". An important component of most of these presentations is the electronic musical instrument "Ondes Martenot". As a result, the popularity of "concert-performances" and night extravaganzas "Saint of Light", the essential component of which were the spiritual and mysterious timbral features of the "Ondes Martenot", stimulated the aesthetic preferences of modernist composers. It was during this period that a significant part of the musical repertoire was created for this instrument, which was always connected precisely with the sphere of the Sacred and the Cosmic. This also marked the leading spiritual, social, and aesthetic guidelines of the World Exhibition of 1937, which, in the most difficult political situation on the eve of the Second World War, tried, including through the diverse involvement of the timbrality of the "Ondes Martenot" involved in the mysterious spectacular actions of this project, unite the human community and avoid global catastrophe.
Keywords: World Exhibition in Paris in 1937, "Feasts of sound, water and light", "concerts-spectacles", Ondes Martenot.
{"title":"Ondes Martenot at the World Exhibition in Paris in 1937","authors":"Dmytro Holubov","doi":"10.32461/2226-3209.3.2023.289851","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289851","url":null,"abstract":"The purpose of the study is to reveal the figurative, semantic and symbolic specificity of the interpretation of the timbre of \"Ondes Martenot\" in line with the musical, cultural, and socio-political guidelines of the World Exhibition in Paris in 1937. Research methodology. Cultural-historical, interdisciplinary historical-cultural, as well as analytical-musicological methods were essential for this work. The scientific novelty of the work lies in the fact that it introduces for the first time into the circulation of art historians the materials related to the musical component of the artistic events of the Paris World Exhibition of 1937, voiced, including with the help of the timbralness of the \"Ondes Martenot\", which became the personification of the union of art and technology as a leading symbol of its shares. Conclusions. Interwar France, being at the edge of a difficult socio-political and cultural situation, grasped at the saving idea for it – the holding of another \"World's Fair\" in 1937, the slogan of which was chosen as the thesis – \"Art and technology in modern life\". Achieving the set goals and demonstrating to the whole world the high-tech side of France's existence became possible thanks to the musical part of the exhibition, namely \"concert-performances\" and night shows on the banks of the Seine – \"Holidays of sound, water and light\". An important component of most of these presentations is the electronic musical instrument \"Ondes Martenot\". As a result, the popularity of \"concert-performances\" and night extravaganzas \"Saint of Light\", the essential component of which were the spiritual and mysterious timbral features of the \"Ondes Martenot\", stimulated the aesthetic preferences of modernist composers. It was during this period that a significant part of the musical repertoire was created for this instrument, which was always connected precisely with the sphere of the Sacred and the Cosmic. This also marked the leading spiritual, social, and aesthetic guidelines of the World Exhibition of 1937, which, in the most difficult political situation on the eve of the Second World War, tried, including through the diverse involvement of the timbrality of the \"Ondes Martenot\" involved in the mysterious spectacular actions of this project, unite the human community and avoid global catastrophe.
 Keywords: World Exhibition in Paris in 1937, \"Feasts of sound, water and light\", \"concerts-spectacles\", Ondes Martenot.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"12 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218046","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289828
Iryna Soliarska-Komarchuk
The purpose of the article is to analyse the decorative and monumental works of the Ukrainian artist Fedir Tetianych, created in the 1970s, and to identify the traditions of the transavant-garde in their design and methodology. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts, in particular, neo-expressionism, transavant-garde, mythopoetics. The systematic-analytical method is used to highlight the artistic and technological features of F. Tetianych's monumental works as an original example of the Ukrainian transavant-garde. The scientific novelty of the study is to identify the formative and compositional achievements of F. Tetianych's monumental works, which stylistically correspond to the traditions of the transavant-garde of the last third of the twentieth century. Conclusions. After analysing the monumental works of F. Tetianych, which were created in the 1970s, it can be argued that this period was important in the formation of both the philosophical and poetic doctrine of “Fripulia”, the author's original mythopoetics, and interesting techniques and methods of implementation, which involved the use of industrial and consumer waste. The described artistic and technical techniques and methods of F. Tetianych, who belonged to the representatives of the “unofficial” art of Ukraine, correspond to the traditions of the transavant-garde and are in tune with the style of many foreign artists of the last third of the twentieth century.
Keywords: neo-expressionism, transavant-garde, mythopoetics, monumental art, techniques, methodology, research.
{"title":"Monumental Art by F. Tetianych in the Context of Transavant-Garde Traditions","authors":"Iryna Soliarska-Komarchuk","doi":"10.32461/2226-3209.3.2023.289828","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289828","url":null,"abstract":"The purpose of the article is to analyse the decorative and monumental works of the Ukrainian artist Fedir Tetianych, created in the 1970s, and to identify the traditions of the transavant-garde in their design and methodology. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts, in particular, neo-expressionism, transavant-garde, mythopoetics. The systematic-analytical method is used to highlight the artistic and technological features of F. Tetianych's monumental works as an original example of the Ukrainian transavant-garde. The scientific novelty of the study is to identify the formative and compositional achievements of F. Tetianych's monumental works, which stylistically correspond to the traditions of the transavant-garde of the last third of the twentieth century. Conclusions. After analysing the monumental works of F. Tetianych, which were created in the 1970s, it can be argued that this period was important in the formation of both the philosophical and poetic doctrine of “Fripulia”, the author's original mythopoetics, and interesting techniques and methods of implementation, which involved the use of industrial and consumer waste. The described artistic and technical techniques and methods of F. Tetianych, who belonged to the representatives of the “unofficial” art of Ukraine, correspond to the traditions of the transavant-garde and are in tune with the style of many foreign artists of the last third of the twentieth century.
 Keywords: neo-expressionism, transavant-garde, mythopoetics, monumental art, techniques, methodology, research.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167954","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289814
Oksana Krupa
The purpose of the article is to consider the defining trends and aspects connected with the implementation of the conception of infotainment in the practice of the event industry. The research methodology predicts the usage of, firstly, the descriptive level combined with an analytical method to characterise the current stage of the event industry, its events category B2C and B2B, secondly, context-structural analysis of infotainment as a concept and model thanks to which the author has managed to identify the causal links between certain types of event activities and essential features of infotainment, which is the condition for the possibility of implementing the practice of the event industry. Scientific novelty is, first of all, that on the article level, the problem of implementation of the conception of infotainment in the practice of the event industry was actualised, which was mainly considered in the context of journalism and TV. Conclusions. It is affirmed that the concept of infotainment is one of the methodological platforms that can be used for reasoning and explanation of the logic of deployment and the content specifics of individual event activities, and also their place in modern (world and national) mass culture. The author suggests the statement according to which the given model of the media culture helps in registration content and information creates favourable conditions for the development of event management through synthesis educational-cognition and entertainment components in event activities, helps to decode and perceive complex meanings and images in their continuous flow and frantic information dynamics. It is underlined that initiating cultural-intellectual “game”, infotainment stimulates heuristic potential of thinking, especially in terms of perception and assimilation of cultural codes, and with the help of fragmenting the content, activates the initiative of event participants in terms of creatively completing the full picture of what is happening.
Keywords: infotainment, event industry, event activities, entertainment, game, mass culture, media culture.
{"title":"Implementation of the Concept of Infotainment into the Practice of the Event Industry: Definition of the Problem","authors":"Oksana Krupa","doi":"10.32461/2226-3209.3.2023.289814","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289814","url":null,"abstract":"The purpose of the article is to consider the defining trends and aspects connected with the implementation of the conception of infotainment in the practice of the event industry. The research methodology predicts the usage of, firstly, the descriptive level combined with an analytical method to characterise the current stage of the event industry, its events category B2C and B2B, secondly, context-structural analysis of infotainment as a concept and model thanks to which the author has managed to identify the causal links between certain types of event activities and essential features of infotainment, which is the condition for the possibility of implementing the practice of the event industry. Scientific novelty is, first of all, that on the article level, the problem of implementation of the conception of infotainment in the practice of the event industry was actualised, which was mainly considered in the context of journalism and TV. Conclusions. It is affirmed that the concept of infotainment is one of the methodological platforms that can be used for reasoning and explanation of the logic of deployment and the content specifics of individual event activities, and also their place in modern (world and national) mass culture. The author suggests the statement according to which the given model of the media culture helps in registration content and information creates favourable conditions for the development of event management through synthesis educational-cognition and entertainment components in event activities, helps to decode and perceive complex meanings and images in their continuous flow and frantic information dynamics. It is underlined that initiating cultural-intellectual “game”, infotainment stimulates heuristic potential of thinking, especially in terms of perception and assimilation of cultural codes, and with the help of fragmenting the content, activates the initiative of event participants in terms of creatively completing the full picture of what is happening.
 Keywords: infotainment, event industry, event activities, entertainment, game, mass culture, media culture.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"55 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167965","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289830
Mariana Varchuk
The purpose of the article is to ascertain the stages of collecting European portrait miniature of the 16th – 19th century from the outset of this art until now as an important factor for the research of the Bohdan and Varvara Khanenko National Museum of Arts miniatures, Kyiv. The research methodology is based on historiographical analysis coupled with axiological and holistic approaches to identify the relationship between the history of collecting and the evolution of the art of portrait miniature. The scientific novelty of the article lies in determining the general trends in collecting works to clarify the reasons for collecting European portrait miniatures in Ukraine, inter alia, at the Bohdan and Varvara Khanenko National Museum of Arts in Kyiv. Conclusions. Transformation of portrait miniature from an object of private property to a museum artefact began in the 17th century. Portrait miniature was recognised as a separate artistic genre. The processes of studying the term “miniature portrait”, researching of the art tradition, and creating the first museum’s collections were launched. It was at that time that the core of the miniatures collection was set up by its founders in the Bohdan and Varvara Khanenko National Museum of Arts. Now it is one of the greatest in Ukraine. Understanding of the artworks value have been proceeding during decline of demand for the traditional portrait miniature after invention of daguerreotype. Nowadays, the works are of interest to collectors, but the painting tradition continues only among amateurs.
Keywords: portrait, painting, miniature, European miniature, collection, history, research, the Bohdan and Varvara Khanenko National Museum of Arts.
{"title":"Stages of Collecting European Portrait Miniatures of the 16th – 19th Centuries","authors":"Mariana Varchuk","doi":"10.32461/2226-3209.3.2023.289830","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289830","url":null,"abstract":"The purpose of the article is to ascertain the stages of collecting European portrait miniature of the 16th – 19th century from the outset of this art until now as an important factor for the research of the Bohdan and Varvara Khanenko National Museum of Arts miniatures, Kyiv. The research methodology is based on historiographical analysis coupled with axiological and holistic approaches to identify the relationship between the history of collecting and the evolution of the art of portrait miniature. The scientific novelty of the article lies in determining the general trends in collecting works to clarify the reasons for collecting European portrait miniatures in Ukraine, inter alia, at the Bohdan and Varvara Khanenko National Museum of Arts in Kyiv. Conclusions. Transformation of portrait miniature from an object of private property to a museum artefact began in the 17th century. Portrait miniature was recognised as a separate artistic genre. The processes of studying the term “miniature portrait”, researching of the art tradition, and creating the first museum’s collections were launched. It was at that time that the core of the miniatures collection was set up by its founders in the Bohdan and Varvara Khanenko National Museum of Arts. Now it is one of the greatest in Ukraine. Understanding of the artworks value have been proceeding during decline of demand for the traditional portrait miniature after invention of daguerreotype. Nowadays, the works are of interest to collectors, but the painting tradition continues only among amateurs. 
 Keywords: portrait, painting, miniature, European miniature, collection, history, research, the Bohdan and Varvara Khanenko National Museum of Arts.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"AES-12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168335","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289852
Qingqing Ying
The purpose of the research is to trace the Biedermeier background of the expressiveness of S. Moniuszko's Songs in their borderline to the musical realism-verism of the middle of the 19th century, using the example of the songs for high voice from the collection "Pieśni wybrane", 1, na głos wysoki (Polskie Wydawnictwo Muzyczne: Kraków, 1972), which timbre-register corresponds to the lyric soprano of the author of this essay. The methodological basis is the intonation approach of the school of B. Asafyev in Ukraine, represented, among other things, by the works of O. Markova, O. Muravska, Yu. Oleinikova, other authors, in which the basic method of analysis is stylistic comparative, musicological holistic analysis with hermeneutic approaches, as well as the historical-biographical method from the perspective of the "intellectual biography" of the subject of the study. The scientific novelty of the work is determined by the author's primacy of unfolding the stylistic vision of Moniuszko's Songs on its Biedermeier basis in relation to the nascent method of musical realism-verism. Also innovative is the analysis of the named Songs from the perspective of the stated stylistic interpretation of the expressiveness of the works of the great Polish composer. Conclusions. The 12 analysed Songs by S. Moniuszko within the stylistic Biedermeier attribution demonstrated the breadth of identifying signs of a small form – from monologue-serenades, three-strophe type bar-form to the "minimalism" of genre couplets. This gives birth to Biedermeier's characteristic combination of high Europeanism and demonstratively simplified "provincialisms" (the latter due to the genre of Kraków and Mazurka). The compensability of the parts of the voice and the piano gives the sound of the vocal-instrumental model of the madrigal-motet, which became one of the means of revealing the realism of life's "polyphony" (see the madrigal genre in the French lyric opera of S. Gounod) together with frank folkloristic findings that indicative of the aesthetics of musical realism of the middle of the 19th century.
Keywords: song genre, musical genre, style in music, Biedermeier, realism-verism.
本研究的目的是利用《Pieśni wybrane》，1,na głos wysoki (Polskie Wydawnictwo Muzyczne: Kraków, 1972)合集中的高音歌曲为例，追溯S. monuszko的歌曲在19世纪中期音乐现实主义主义边缘的表现力的比德梅尔背景，其音色音域与本文作者的抒情女高音相对应。方法基础是乌克兰B. Asafyev学校的语调方法，除其他外，以O. Markova, O. Muravska, Yu的作品为代表。其中的基本分析方法是文体比较分析，音乐学整体分析采用解释学方法，以及历史传记方法从“知识分子传记”的角度对研究对象进行研究。作品的科学新颖性是由作者首先在比德梅尔的基础上展开莫纽斯科歌曲的风格视野，并与新兴的音乐现实主义-真实主义方法有关。从对这位伟大的波兰作曲家作品表现力的表述风格解读的角度来分析《命名曲》也是一种创新。结论。这12首被分析的S. monuszko的歌曲在比德迈尔的风格归属中展示了识别小形式标志的宽度——从独白小夜曲，三诗格式的酒吧形式到“极简主义”的对联体裁。这就产生了比德迈尔特有的高度欧洲主义和明显简化的“地方主义”的结合(后者由于Kraków和玛祖卡的类型)。声音和钢琴部分的互补性使牧歌-圣歌的声乐-乐器模式发出声音，这成为揭示生活“复调”的现实主义的手段之一(参见S.古诺的法国抒情歌剧中的牧歌类型)，以及表明19世纪中期音乐现实主义美学的坦率的民俗学发现。关键词:歌曲类型，音乐类型，音乐风格，比德梅尔，现实主义
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 Keywords: song genre, musical genre, style in music, Biedermeier, realism-verism.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"34 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218049","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289847
Vasyl Babukhivskyi
The purpose of this work is to identify stylistic clarifications regarding such an all-encompassing and extremely influential direction from the last century as neo-baroque, which was perceived as an offshoot of the overall neoclassicism of the 20th century, taking into account the post-avant-garde contribution from the 1970s and the post-post-avant-garde ("neo-post-avant-garde") addition from 2010s – in the conditions of the German music world. The latter has held basic positions in art music since the times of the Viennese classicism, significantly supplying the repertoire of performance even today. The methodological basis of the study is the intonation approach, as it was noted in the works of B. Asafiev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, and others), as well as based on the development of instrumental performance of the Odesa school (works by Z. Bupkatskyi, K. Muhlberg, other scholars). The scientific novelty of the work is noted due to the originality of the presentation of the meaning of the stylistic diffusions of instrumental art from the 20th to the 21st centuries, which made it possible to revive in the performance of works that bypassed artistry in favour of either church aestheticism of expression or frankly traditionalist thinking, which was not associated with ideas about the stylistic dynamism of German music of the last two centuries. Conclusions. The neo-baroque stylistic eclecticism of German art from the 20th century was based on the contributions of the stylistic extremism of P. Hindemith, which bypassed the "soft" detections in the works of A. Zemlinsky, Z. Wagner, F. Schmidt, and more, leading to the "neo-Schubertianism" of V. Rimm, which became the recognised leader of the German musical world at the break of the post-avant-garde and post-post-avant-garde heritages. Performance practice, performing the works of German post-avant-garde composers at the level of B. Zimmerman, J. Widman, A. Raiman, and other masters, organically combined it with the revival of the legacy of A. Zemlinsky, F. Schreker, Z. Wagner, F. Schmidt, as well as composers of the Baroque era – J. Molter, H. Telemann, and so on, whose thinking did not coincide with the criteria of the author's work of the New Age, but corresponded to the neo-baroque filling of the post-avant-garde with compositions marked by church aestheticism in bypassing the criterion of artistry, which we denote by the term "post-avant-garde neo-baroque" in music.
Keywords: baroque, neo-baroque of the 20th century, neoclassicism, post-avant-garde neo-baroque, German style in music, style of the era, post-avant-garde.
这项工作的目的是确定风格上的澄清，从上个世纪开始，新巴洛克风格被认为是20世纪整体新古典主义的一个分支，同时考虑到20世纪70年代的后前卫贡献和2010年代的后前卫(“新后前卫”)-在德国音乐世界的条件下。自维也纳古典主义时代以来，后者在艺术音乐中占据了基本地位，甚至在今天也重要地提供了表演曲目。该研究的方法论基础是语调方法，正如B. Asafiev在乌克兰的追随者的作品中所指出的那样(参见D. Androsova, O. Markova, O. Muravska等人的出版物)，以及基于敖德萨学派器乐演奏的发展(Z. Bupkatskyi, K. Muhlberg等学者的作品)。由于从20世纪到21世纪器乐艺术风格扩散的意义呈现的独创性，该作品的科学新颖性被注意到，这使得有可能在绕过艺术性的作品的表演中复兴，这些作品有利于教会审美主义的表达或坦率地说传统主义思想，这与过去两个世纪德国音乐的风格活力无关。结论。20世纪以来德国艺术的新巴洛克风格折衷主义是基于P.欣德米特风格极端主义的贡献，它绕过了A.泽姆林斯基、Z.瓦格纳、F.施密特等人作品中的“软”发现，导致了V.里姆的“新舒伯特主义”，他成为德国音乐界公认的领袖，打破了后前卫和后前卫的遗产。演奏实践，在B.齐默尔曼、J.威德曼、A.赖曼等大师的水平上演奏德国后前卫作曲家的作品，将其与A.泽姆林斯基、F.施雷克、Z.瓦格纳、F.施密特以及巴洛克时代的作曲家J.莫尔特、H.泰勒曼等思想不符合笔者新时代作品标准的遗产的复兴有机地结合起来;而是与以教堂唯美主义为标志的后前卫音乐的新巴洛克式填充物相对应，这种填充物绕过了艺术标准，我们用音乐中的“后前卫新巴洛克”一词来表示。关键词:巴洛克，20世纪新巴洛克，新古典主义，后前卫新巴洛克，德国音乐风格，时代风格，后前卫。
{"title":"Post-Avant-Garde and German Neo-Baroque of the 21st Century","authors":"Vasyl Babukhivskyi","doi":"10.32461/2226-3209.3.2023.289847","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289847","url":null,"abstract":"The purpose of this work is to identify stylistic clarifications regarding such an all-encompassing and extremely influential direction from the last century as neo-baroque, which was perceived as an offshoot of the overall neoclassicism of the 20th century, taking into account the post-avant-garde contribution from the 1970s and the post-post-avant-garde (\"neo-post-avant-garde\") addition from 2010s – in the conditions of the German music world. The latter has held basic positions in art music since the times of the Viennese classicism, significantly supplying the repertoire of performance even today. The methodological basis of the study is the intonation approach, as it was noted in the works of B. Asafiev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, and others), as well as based on the development of instrumental performance of the Odesa school (works by Z. Bupkatskyi, K. Muhlberg, other scholars). The scientific novelty of the work is noted due to the originality of the presentation of the meaning of the stylistic diffusions of instrumental art from the 20th to the 21st centuries, which made it possible to revive in the performance of works that bypassed artistry in favour of either church aestheticism of expression or frankly traditionalist thinking, which was not associated with ideas about the stylistic dynamism of German music of the last two centuries. Conclusions. The neo-baroque stylistic eclecticism of German art from the 20th century was based on the contributions of the stylistic extremism of P. Hindemith, which bypassed the \"soft\" detections in the works of A. Zemlinsky, Z. Wagner, F. Schmidt, and more, leading to the \"neo-Schubertianism\" of V. Rimm, which became the recognised leader of the German musical world at the break of the post-avant-garde and post-post-avant-garde heritages. Performance practice, performing the works of German post-avant-garde composers at the level of B. Zimmerman, J. Widman, A. Raiman, and other masters, organically combined it with the revival of the legacy of A. Zemlinsky, F. Schreker, Z. Wagner, F. Schmidt, as well as composers of the Baroque era – J. Molter, H. Telemann, and so on, whose thinking did not coincide with the criteria of the author's work of the New Age, but corresponded to the neo-baroque filling of the post-avant-garde with compositions marked by church aestheticism in bypassing the criterion of artistry, which we denote by the term \"post-avant-garde neo-baroque\" in music.
 Keywords: baroque, neo-baroque of the 20th century, neoclassicism, post-avant-garde neo-baroque, German style in music, style of the era, post-avant-garde.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"30 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218432","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289839
Olha Muravska
The purpose of the research is to reveal the poetic and intonation uniqueness of B. Lyatoshynskyi's "The Golden Hoop" in the stream of spiritual and mythological instructions of the European musical theatre of the XIX-XX centuries. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches, which allow us to reveal the spiritual and mysterious foundations of the opera "The Golden Hoop" by B. Lyatoshynskyi and its literary primary source, were essential for this work. The scientific novelty of the article is determined by its analytical perspective, which reveals the spiritual and mysterious genesis of the opera "The Golden Hoop" by B. Lyatoshynskyi, imprinted not only by the poetics of the Ukrainian musical theatre and its spiritual and aesthetic guidelines, but also by the Christian and mythological foundations of the Western European opera of the Romantic era. Conclusions. “The Golden Hoop” by B. Lyatoshynskyi (1929) became an outstanding work of Ukrainian and European musical theatre in general in the first half of the 20th century. On the one hand, this opera arose at the intersection of the “social” ideas of I. Franko and their artistic embodiment in the story “Zakhar Berkut”, as well as the spiritual and ethical guidelines of the work of B. Lyatoshynskyi, formed against the background of the mysterious and mythological background of the Ukrainian “image of the world” and cultures. On the other hand, the spiritual and semantic specificity of the analysed opus with the obvious minimisation of the actual historical factor in it, the strengthening of the mythological beginning (the coexistence of three worlds – gods, heroes and people), the reinterpretation (in comparison with the literary original source) by the authors of the opera of its finale with an emphasis on its sacrificial-redemptive meaning – all this evokes certain analogies between “The Golden Hoop” and a wide range of themes and images of European culture of the past and present and its biblical and Christian mystical background.
Keywords: “The Golden Hoop” by B. Lyatoshynskyi, “Zakhar Berkut” by I. Franko, mystery and opera, Ukrainian musical culture.
{"title":"\"The Golden Hoop\" by B. Lyatoshynskyi in the Inheritance of Spiritual and Mythological Instructions of the Musical Theatre of Europe","authors":"Olha Muravska","doi":"10.32461/2226-3209.3.2023.289839","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289839","url":null,"abstract":"The purpose of the research is to reveal the poetic and intonation uniqueness of B. Lyatoshynskyi's \"The Golden Hoop\" in the stream of spiritual and mythological instructions of the European musical theatre of the XIX-XX centuries. Research methodology. Interdisciplinary, historical-cultural, genre-stylistic approaches, which allow us to reveal the spiritual and mysterious foundations of the opera \"The Golden Hoop\" by B. Lyatoshynskyi and its literary primary source, were essential for this work. The scientific novelty of the article is determined by its analytical perspective, which reveals the spiritual and mysterious genesis of the opera \"The Golden Hoop\" by B. Lyatoshynskyi, imprinted not only by the poetics of the Ukrainian musical theatre and its spiritual and aesthetic guidelines, but also by the Christian and mythological foundations of the Western European opera of the Romantic era. Conclusions. “The Golden Hoop” by B. Lyatoshynskyi (1929) became an outstanding work of Ukrainian and European musical theatre in general in the first half of the 20th century. On the one hand, this opera arose at the intersection of the “social” ideas of I. Franko and their artistic embodiment in the story “Zakhar Berkut”, as well as the spiritual and ethical guidelines of the work of B. Lyatoshynskyi, formed against the background of the mysterious and mythological background of the Ukrainian “image of the world” and cultures. On the other hand, the spiritual and semantic specificity of the analysed opus with the obvious minimisation of the actual historical factor in it, the strengthening of the mythological beginning (the coexistence of three worlds – gods, heroes and people), the reinterpretation (in comparison with the literary original source) by the authors of the opera of its finale with an emphasis on its sacrificial-redemptive meaning – all this evokes certain analogies between “The Golden Hoop” and a wide range of themes and images of European culture of the past and present and its biblical and Christian mystical background.
 Keywords: “The Golden Hoop” by B. Lyatoshynskyi, “Zakhar Berkut” by I. Franko, mystery and opera, Ukrainian musical culture.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"44 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135218590","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289863
Natalia Petrovska
The purpose of the research is to reveal the poetic and intonation uniqueness of V. Malyszewski's “Kuyavian Fantasy” in the stream of ideas of Polish national revival, actualised in the 20s and 30s of the 20th century. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic, etymological analysis. Analytical-musicological, genre-stylistic, and interdisciplinary approaches were essential for the work, which made it possible to reveal and investigate the genre-intonational nature of V. Malyszewski's “Kuyavian Fantasy” and its correlation with the ideas of Polish national revival at the beginning of the 20th century. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the genre-stylistic specificity of V. Malyszewski's work and its correlation with the historical realities of Polish national state-building and the representation of his ideas in the culture and music of the first half of the 20th century. Conclusions. V. Malyshweski is an outstanding composer, teacher, whose multifaceted activity became a brilliant embodiment of personal Renaissance encyclopedism and creative universalism against the background of an organic synthesis of Slavic cultures, the genesis of which went back to the spiritual-national and religious-ethical guidelines of the Polish-Lithuanian Commonwealth. The latter became relevant during the period of restoration of Polish statehood (1918) against the background of the ideas of Prometheus. “Kuyavian fantasy” by V. Malyshewsky, which combined genre features of fantasy, suite and concert, became an artistic embodiment of the leading ideas of its time, symbolically directed to the ancient instructions of the Slavic world and Polish statehood, which is also evident in the programmatic appeal to the image of Kuyavia as an ancient Polish region; and to the etymological affinity of the name of these lands with ancient Kuyavia, related to ancient Ukrainian territories and Kyiv. “Kuyavian fantasy”, on the one hand, carefully reproduces the genre palette of Kuyaviak both as a regional dance-suite and as an example of Polish dance culture in general. On the other hand, the composer's overcoming of the purely applied role of this dance, which demonstrates the code section of the work, which acquires the characteristics of a majestic hymn to the revived Motherland, is indicative.
Keywords: the work of V. Malyshewski, “Kuyavian fantasy” by V. Malyshewski, the Polish-Lithuanian Commonwealth, prometheism, polonaise, kuyaviak, mazurka, Polish dance music.
{"title":"“Kuyavian fantasy” by V. Malyszewski in Review of Spiritual and Ethical Instructions of Polish National Revival of the First Half of the XX Century","authors":"Natalia Petrovska","doi":"10.32461/2226-3209.3.2023.289863","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289863","url":null,"abstract":"The purpose of the research is to reveal the poetic and intonation uniqueness of V. Malyszewski's “Kuyavian Fantasy” in the stream of ideas of Polish national revival, actualised in the 20s and 30s of the 20th century. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic, etymological analysis. Analytical-musicological, genre-stylistic, and interdisciplinary approaches were essential for the work, which made it possible to reveal and investigate the genre-intonational nature of V. Malyszewski's “Kuyavian Fantasy” and its correlation with the ideas of Polish national revival at the beginning of the 20th century. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the genre-stylistic specificity of V. Malyszewski's work and its correlation with the historical realities of Polish national state-building and the representation of his ideas in the culture and music of the first half of the 20th century. Conclusions. V. Malyshweski is an outstanding composer, teacher, whose multifaceted activity became a brilliant embodiment of personal Renaissance encyclopedism and creative universalism against the background of an organic synthesis of Slavic cultures, the genesis of which went back to the spiritual-national and religious-ethical guidelines of the Polish-Lithuanian Commonwealth. The latter became relevant during the period of restoration of Polish statehood (1918) against the background of the ideas of Prometheus. “Kuyavian fantasy” by V. Malyshewsky, which combined genre features of fantasy, suite and concert, became an artistic embodiment of the leading ideas of its time, symbolically directed to the ancient instructions of the Slavic world and Polish statehood, which is also evident in the programmatic appeal to the image of Kuyavia as an ancient Polish region; and to the etymological affinity of the name of these lands with ancient Kuyavia, related to ancient Ukrainian territories and Kyiv. “Kuyavian fantasy”, on the one hand, carefully reproduces the genre palette of Kuyaviak both as a regional dance-suite and as an example of Polish dance culture in general. On the other hand, the composer's overcoming of the purely applied role of this dance, which demonstrates the code section of the work, which acquires the characteristics of a majestic hymn to the revived Motherland, is indicative.
 Keywords: the work of V. Malyshewski, “Kuyavian fantasy” by V. Malyshewski, the Polish-Lithuanian Commonwealth, prometheism, polonaise, kuyaviak, mazurka, Polish dance music.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"39 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135219288","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289815
Tetiana Kuprii
The purpose of the article is to reveal the essence of the integration function of television and, at the same time, the factor in the formation of a single cultural space. The research methodology is based on the application of the principles of analysis and synthesis, the unity of the logical and systematic approaches. The scientific novelty of the results obtained lies in understanding the essence of the integration function of television and, at the same time, the factor in the formation of a single cultural space. Conclusions. It is emphasised that the role of television in the process of integration lies in its ability to combine all participants of the social dialogue, to be its driving force. Integration as a transformation of the system of values, a long-term aspiration that guides society based on the acceptance of the value of cooperation, is directly related to the formation of a socio-cultural space, one of the subjects responsible for filling which is television. As a subject of the informational and sociocultural space, television structures and fills this space in accordance with the interests of its viewer – the nature of television broadcasting allows, influencing the audience, to appeal to almost all the feelings and emotions of a person. It is noted that television contributes to: a) consistency between cultural standards, norms, patterns of behaviour; b) the introduction of cultural standards in people's behaviour by regulating public opinion; c) is the subject of the exchange of cultural meanings, symbols and meanings in an integrated society; as well as a factor of social differentiation and at the same time its product, playing its specific role in the modern world. It is summarised that television actively promotes national values, patterns of behaviour, moral and ethical norms, and broadcasts these elements of culture not in an abstract form, but in their socio-cultural context, in the form of concrete and accessible images. The interaction of television and culture provides communicative forms and methods of informational and cultural integration.
Keywords: television, information space, cultural space, society integration.
{"title":"Television as a Factor in Formation of Common Cultural Space and Integration of Society","authors":"Tetiana Kuprii","doi":"10.32461/2226-3209.3.2023.289815","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289815","url":null,"abstract":"The purpose of the article is to reveal the essence of the integration function of television and, at the same time, the factor in the formation of a single cultural space. The research methodology is based on the application of the principles of analysis and synthesis, the unity of the logical and systematic approaches. The scientific novelty of the results obtained lies in understanding the essence of the integration function of television and, at the same time, the factor in the formation of a single cultural space. Conclusions. It is emphasised that the role of television in the process of integration lies in its ability to combine all participants of the social dialogue, to be its driving force. Integration as a transformation of the system of values, a long-term aspiration that guides society based on the acceptance of the value of cooperation, is directly related to the formation of a socio-cultural space, one of the subjects responsible for filling which is television. As a subject of the informational and sociocultural space, television structures and fills this space in accordance with the interests of its viewer – the nature of television broadcasting allows, influencing the audience, to appeal to almost all the feelings and emotions of a person. It is noted that television contributes to: a) consistency between cultural standards, norms, patterns of behaviour; b) the introduction of cultural standards in people's behaviour by regulating public opinion; c) is the subject of the exchange of cultural meanings, symbols and meanings in an integrated society; as well as a factor of social differentiation and at the same time its product, playing its specific role in the modern world. It is summarised that television actively promotes national values, patterns of behaviour, moral and ethical norms, and broadcasts these elements of culture not in an abstract form, but in their socio-cultural context, in the form of concrete and accessible images. The interaction of television and culture provides communicative forms and methods of informational and cultural integration.
 Keywords: television, information space, cultural space, society integration.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135167369","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 : 2023-10-25DOI: 10.32461/2226-3209.3.2023.289780
Svitlana Sobolievska
The purpose of the article is to find out the role of folk and author's dolls in intercultural communication. The research methodology in the cultural discourse is based on the comparative method for comparing the peculiarities of using folk and author's dolls in the dialogue of cultures, the method of comparative analysis for systematising information about dolls from different nations of the world, and the method of generalisation for forming the conclusions of the article. The scientific novelty. The classification of the main folk and author's dolls is supplemented to study the role of the doll in intercultural interaction in different countries of the world, and it is found out how exhibitions of folk and author's dolls promote intercultural communication. Conclusions. It has been found that the author's doll is a reflection of the author's worldview and his/her interpretation of the world. In turn, the folk doll as a part of the cultural heritage of a particular nation and a national and cultural symbol contributes to the realisation of one's own national identity in intercultural communication. As a result, both folk and author's dolls can become intermediaries in the dialogue of cultures during exhibitions and contribute to the preservation of national cultural values.
Keywords: author's doll, dialogue of cultures, cultural values, intercultural communication, folk doll.
{"title":"Role of Folk and Author’s Dolls in Intercultural Communication","authors":"Svitlana Sobolievska","doi":"10.32461/2226-3209.3.2023.289780","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289780","url":null,"abstract":"The purpose of the article is to find out the role of folk and author's dolls in intercultural communication. The research methodology in the cultural discourse is based on the comparative method for comparing the peculiarities of using folk and author's dolls in the dialogue of cultures, the method of comparative analysis for systematising information about dolls from different nations of the world, and the method of generalisation for forming the conclusions of the article. The scientific novelty. The classification of the main folk and author's dolls is supplemented to study the role of the doll in intercultural interaction in different countries of the world, and it is found out how exhibitions of folk and author's dolls promote intercultural communication. Conclusions. It has been found that the author's doll is a reflection of the author's worldview and his/her interpretation of the world. In turn, the folk doll as a part of the cultural heritage of a particular nation and a national and cultural symbol contributes to the realisation of one's own national identity in intercultural communication. As a result, both folk and author's dolls can become intermediaries in the dialogue of cultures during exhibitions and contribute to the preservation of national cultural values.
 Keywords: author's doll, dialogue of cultures, cultural values, intercultural communication, folk doll.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135168191","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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