Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv最新文献

{"title":"The Impact of YouTube Video Hosting on the Children's Segment of Ukrainian Audiovisual Culture","authors":"Olha Musiienko","doi":"10.32461/2226-3209.3.2023.289816","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289816","url":null,"abstract":"The purpose of the article is to determine the impact of YouTube video hosting on the children's segment of audiovisual culture. The research methodology takes into account cultural approaches to the study of modern audiovisual culture and the application of a certain set of scientific methods, in particular, the use of typological and systematic analysis methods to identify the specifics of the impact of YouTube video hosting on the children's segment of audiovisual culture, the method of morphological analysis – to record the formation of a new morphology, of which video hosting is a part. The research methodology is based on the use of the content analysis method. Content analysis was carried out on the basis of statistical analysis of the specified video hosting (number of views, number of subscribers per channel) and morphological characteristics of representative audiovisual works of the Ukrainian children's YouTube segment. The scientific novelty of the work lies in the expansion of ideas about the virtual children's segment of audiovisual culture in Ukraine and the study of YouTube video hosting as a tool for forming a child's cultural worldview. Conclusions. It was found that YouTube video hosting combines the production and distribution of children's own creativity with the functions of social networks, which are a powerful tool for communication and mediated socialisation. This is what makes it an almost ideal place for creativity, communication, and earning. It has been proven that the online works of Ukrainian authors reflect the large-scale influence of digital culture on the traditional means of creating and consuming audiovisual works for children. The conducted analysis revealed the peculiarities of the existence of the Ukrainian children's segment of YouTube within the new morphology of a virtual nature, which affected the combination of traditional genre forms of audiovisual works and modern digital technologies.
 Keywords: video hosting, audiovisual culture, YouTube, author's YouTube channels, Ukrainian segment of YouTube.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"25 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":"135167482","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}

{"title":"Structural and Stylistic Components of the Comics in the Real Space of Formation of Spectacular Culture","authors":"Serhii Krykunenko","doi":"10.32461/2226-3209.3.2023.289785","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289785","url":null,"abstract":"The purpose of the article is to identify and investigate the structural and stylistic components of the comics, its verbal and non-verbal components, as well as their use in the context of the formation of modern forms of stage and screen entertainment culture as a special visual phenomenon of today. The methodology is based on the use of dialectical, semiotic, analytical, and culturological methods for distinguish and systematise the structural-stylistic and compositional elements of the comics, which, thanks to their artistic features, are used in the formation of modern forms of stage and screen spectacular culture. The scientific novelty of the study lies in conducting the first cultural analysis of the synergy of comics and stage-screen forms of spectacular culture, as well as in the modern analysis and systematisation of the main compositional and structural-stylistic components of the comics; concepts such as \"comic\", \"ideogram\", and \"creolised text\" have been clarified and supplemented. Conclusions. The article reveals the peculiarities of modern varieties of the comics, as well as considers their influence on the formation of spectacular culture. The researched components of the comics, its verbal and non-verbal components, which are the basis of the general construction of the comics. The semiotic features of the use of ideograms, panels, phylacteries and creolised text in the composition of graphic stories are revealed, and the classification of the characteristics of pictorial lines is given. The use of structural and stylistic components of the comics as a special visual component in the real space of the formation of modern stage and screen forms of spectacular culture, namely in cinema, animated films, musicals, shows, and fashion shows, is considered.
 Keywords: comic, painting, ideogram, creolised text, spectacular forms, spectacular culture, audiovisual art, stage art, fashion show, stage and screen spectacle.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"1 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":"135167955","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}

{"title":"Concept of Timber-Role and Philosophy of Voice in the Dynamics of Musician Research in the Last Decades","authors":"Olena Markova","doi":"10.32461/2226-3209.3.2023.289837","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289837","url":null,"abstract":"The purpose of this work is to generalise the characteristics of the concepts of \"voice philosophy\" and \"timbre-role\" accepted in modern musicology, which indicate the non-artistic meaning of expressiveness of singing, which, together with the artistic and plot indicators, give capacity to its metaphorical essence. The methodological basis is culturalised musicology, as presented in the works of the heirs of B. Asafiev in Ukraine, namely in the works, except for the author of this essay, by D. Androsova, M. Davydov, I. Zinkiv, O. Kozarenko, O. Muravska, O. Roschenko, N. Syrotynska, the works of G. Adler, M. Grappler, R. Ingarden, in which the synthesis of musicological analysis and humanitarian and cultural comparative analysis is embedded in the awareness of the expressive self-importance of performing creativity. The scientific novelty lies in the fact that for the first time in a theoretical and logical exposition, the conceptual contents of the terms \"timbre-role\", \"voice philosophy\" are presented, which were introduced by the authors of the studies in the generalisation of musicological observations, summarising the understanding of the vivid performance-pedagogical discoveries of the dissertations completed under the supervision of by the author of this essay, O. Markova, and stated in this conceptual interpretation in the 2015 book, subsequently tested in research by representatives of the specified scientific school. Conclusions. The analysis of the stages of introduction and approbation of the accepted terms \"timbre-role\", \"voice philosophy\" shows that logically and chronologically the first of the named - \"timbre-role\" was the most basic, which proved to be valuable due to the generalisation of the cultural and symbolic beginnings of singing skills, moreover, in volumes of both European, genetically ecclesiastical, vocals, and singing-singing of the Chinese opera tradition. The observation of historical changes in the interpretation of male and female voices, the \"absorption\" by both of them of the primary syncretic masculinity of singing sound expression in general provides the foundations of the \"philosophy of the voice\", \"speculative theory of singing\" (compared with the concept of \"speculative theory of music\" in relation to the designation of musical aesthetics in the 19th century), in which the ideal-extraordinary beginning leads to a distinction with the speech intonation layer, which attests to the essential sound life.
 Keywords: timbre-role, philosophy of voice, style in art, genre in music, vocal, singing.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"1 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":"135168051","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}

{"title":"Ukrainian Military Themes in the Historical Battle Painting of Andrii Kholomeniuk","authors":"Viktor Karpov","doi":"10.32461/2226-3209.3.2023.289824","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289824","url":null,"abstract":"The purpose of the work is to investigate the topic of Ukrainian military history in the historical-battle painting of A. Kholomeniuk; analyse the main cycles and their plot, imagery, author's interpretation. The research methodology consists in the application of the historical-chronological method, comparison and generalisation, art analysis, with the application of the principles of systematicity and historicism. The scientific novelty of the study consists in the systematic generalisation and analysis of the artistic works of the famous artist-battalist A. Kholomeniuk, which reproduce various historical periods of the military history of Ukraine, mainly the late Middle Ages and the Cossack region. Conclusions. As a result of the conducted research, it was established that in his work A. Kholomeniuk addresses various topics and plots of Ukrainian military history, among which the large cycle of works \"The Khotyn War of 1621\" (approx. 80 paintings) occupies a prominent place, which serves as a kind of pictorial encyclopaedia of Ukrainian Cossacks. A. Kholomenyuk's battle paintings have a distinct author's style of painting, with an expressive manner and play of colour, light and shadow, characterised by perfect composition and a deep study of historical details and context. The battle-historical works of A. Kholomeniuk belong to the important examples of modern Ukrainian historical-battle painting, which vividly reflects Ukrainian military themes.
 Keywords: A. Kholomeniuk, battle-historical painting, battle studies, historical themes, military history of Ukraine, Cossack period.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"45 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":"135168497","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}

{"title":"Song Duets by B. Yanivskyi in the Limits of Development of Madrigal and Kanto Culture of Ukraine","authors":"Tatiana Burkatska","doi":"10.32461/2226-3209.3.2023.289849","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289849","url":null,"abstract":"The purpose of the study is to understand an essential component of the lyrical-song world of B. Yanivskyi's works as an archetypal national musical index of the Ukrainian spiritual poetics of expression. The research methodology is based on an intonation approach in understanding the nature of music in its genetic relationship with the word, as found in the hermeneutic musicological analysis of B. Asafiev's followers in Ukraine - in the works of D. Androsova, N. Kadantseva, O. Kozarenko, O. Markova, O. Muravska, and others. The methods of historical-biographical, hermeneutical, stylistic and comparative analysis are widely used in the work. The scientific novelty is that for the first time in the practice of Ukrainian musicology, the songs of B. Yanivskyi were examined in the accepted concept of madrigal-canto expressiveness of singing, and thus a clarification regarding the positions of the Ukrainian Biedermeier of the 20th century, adopted in the works of O. Kozarenko, was introduced into the scientific circulation in the national indexing of this kind of creativity. Conclusions. The songs \"Don't Forget\", \"Red Viburnum, Why Are You Bending over in the Meadow?\", \"Cherry Vikhola\", \"Be Happy, Sister\", showing the quintessence of B. Yanivskyi's song folklorism, show affinity with the themes and style of the bardic song in the terms of the ethically and acutely expressed idea of memory of the heart, loyalty, and generosity of soul. At the same time, the composer combined the principle of bardic confession with the national song-lyrical tradition of canto-madrigal singing, in which, as in spiritual compositions, the text from the first person is presented in an ensemble hypostasis, thus testifying to the tangentiality of the small form to the heights of spiritual lyrics - in the spirit of Biedermeier of the 20th century.
 Keywords: song quality, canto-madrigal culture, lyricism, spiritual lyrics, style in music, musical genre.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"41 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":"135218587","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}

{"title":"\"Two Legends\" for Piano by F. Liszt in Line with his Spiritual and Aesthetic Positions","authors":"Yevheniia Beinyk","doi":"10.32461/2226-3209.3.2023.289848","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289848","url":null,"abstract":"The purpose of the study is to investigate the poetic and intonation features of “Two Legends” for the piano in the context of spiritual search and to reveal the compositional guidelines of F. Liszt, aimed at embodying the poetry of non-antithetical content. The research methodology is determined by the use of historical-logical, analytical, cultural, hermeneutic, comparative methods, as presented in the works of representatives of the intonation approach of B. Asafiev in Ukraine – in the works of D. Androsova, O. Markova, O. Muravska, O. Roschenko, and O. Socol. Scientific novelty. For the first time in domestic cultural studies, the specifics of F. Liszt's spiritual ideas are highlighted according to their presentation in the named piano spiritual works of the late period of the composer's work, marked by his approach to the symbolic principles of thinking. Conclusions. The analysis of the symbolic meaning of the music of F. Liszt's “Two Legends” for piano showed that these are works based on the choice of the program plot – life descriptions of the images of the Saints – Francis of Assisi (XIII century) and the follower of the first Francis of Paoli (XV century), who represented the closely related to Byzantine Orthodoxy, the discovery of mysticism and aestheticism in Catholicism. In the compositional solution, monophonic recitatives (the theme-image of Francis of Assisi in the First Legend), the motif of the Cross, which in the context of the program acquires an interpretation in the aspects of the Old Christian confession, are essential. The tonus peregrinus in the leitmotif of St. Francis in “Second Legend” also stands out, testifying to the imitation of the old liturgy of Byzantine origin. Compositionally, this poetry affirms the Divine unity of the world, in this case it is a presentation of a form devoid of thematic antitheticity. In his spiritual works, Liszt turns to the two-part nature of non-contrasting juxtapositions, which model compositional primary liturgical features. Keywords: legend, romanticism, symbolism, musical style, musical genre, musical symbols.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"48 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135219119","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}

{"title":"Metamorphosis of Chamber-Vocal Cycle in the Work of M. Shukh (on the Example of the Meditative Performance \"Songs of spring\")","authors":"Larisa Gorelik","doi":"10.32461/2226-3209.3.2023.289842","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289842","url":null,"abstract":"The purpose of the research is to identify the poetic and intonation uniqueness of M. Shuh's \"Songs of Spring\" in the context of the evolutionary paths of the development of the chamber-vocal cycle in the 20th century. The methodological basis of the work is the intonation approach in musicology, as well as the historical-cultural and interdisciplinary approach, which allow to investigate the peculiarities of the evolution of the chamber-vocal cycle in postmodern culture, in particular, in \"Songs of Spring\" by M. Shukh. The scientific novelty of the work is due to its analytical perspective, which takes into account not only the specifics of the existence of the vocal cycle in the culture of late 20th century, but also the peculiarities of their reproduction in the \"Songs of Spring\", defined by the author as a \"meditative action\" formed at the intersection of the cultural and historical traditions of the East and the West. Conclusions. The vocal-instrumental cycle \"Songs of Spring\" by M. Shukh, the genre of which the composer himself defined as \"meditative action\", combined the spiritual teachings of Eastern and Western cultures. The first is evident in the poetic basis of the work, which appeals to ancient Chinese poetry and its oriental images-symbols (\"jasper flute\"), while the Western tradition is revealed in the post-modern metamorphoses of the poetics of the chamber-vocal cycle, which in this case converges with a mysterious and meditative spectacle. The marked genre synthesis of M. Shukh's cycle also determines the author's innovative approach to his performance composition, which combines a solo soprano, flute, and a number of percussion instruments into a polyphonic whole, the timbre of which reproduces the oriental (Chinese) flavour of this opus (tam-tam, bells, triangle, bongo, vibraphone, and others). This timbre-polyphonic ensemble is also complemented by the part of the chant, which clearly speaks a significant part of the poetic text. The leading idea of the work, which has a single pentatonic intonation basis, turns out to be ultimately focused also on the idea of the inner spiritual transformation of a person through the contemplation of spring and its signs, filled with deep symbolic meaning.
 Keywords: \"Spring Songs\" by M. Shukha, \"meditative action\", chamber-vocal cycle, culture of the East and the West, postmodernism.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"29 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":"135219122","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}

{"title":"Conceptual Basis for the Development of Folklore and Jazz Direction in Cultural and Artistic Space of Ukraine in Late 20th - First Quarter of the 21st Century","authors":"Volodymyr Hodlevskyy","doi":"10.32461/2226-3209.3.2023.289850","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289850","url":null,"abstract":"The purpose of the work. Based on the theoretical and practical achievements of representatives of modern folklore and jazz trends, identify and explore their conceptual basis, establish distinctive features and formulate your own vision of the development of the folklore-jazz trend in the cultural and artistic space of Ukraine in the period of late 20th – the first quarter of the 21st centuries. The research methodology consists in considering historical, analytical and systemic approaches to reveal the main principles and methods of development of the folk-jazz direction in the cultural and artistic space of Ukraine in late 20th – the first quarter of the 21st centuries. Scientific novelty lies in the actualisation and implementation of innovative developments in the spheres of theoretical, practical, and executive programme of activity in the work of the specified research direction. Conclusions. The folk-jazz direction in the cultural and artistic space of Ukraine in late 20th – the first quarter of the 21st centuries is a promising stage in the formation of musicological, cultural, and other aspects in modern Ukrainian musical art. Practical interest in mixing folklore and jazz opens up new perspectives and horizons of study, analysis, approbation and implementation of new trends, models and forms in educational, performance, and research processes. The interest and use of folk-jazz direction is really relevant in today's realities. Ukrainisation of modern music content has led to a new surge in the desire to use national melos and colour among professional musicians, actors, directors and artists and among almost all sections of society. The desire to identify each individual as a Ukrainian dictates new principles for the implementation of the folk-jazz direction in the musical culture of Ukraine and the perception of the folk code of the nation beyond its borders.
 Keywords: folklore, jazz, folklore-jazz direction, musical art, art history, art, music, research, culture, culturology, innovation.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"94 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135219282","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}

{"title":"MODERN CULTURAL COLLABORATIONS OF OPERA HOUSES OF KYIV, LVIV, AND ODESA UNDER MARTIAL LAW: THE INTERNATIONAL DIMENSION","authors":"Tetiana Reva","doi":"10.32461/2226-3209.3.2023.289779","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289779","url":null,"abstract":"The purpose of the research is to analyse the international cultural collaborations of the opera houses under the martial law on the examples of national operas of Kyiv, Odesa, and Lviv. The research methodology is based on the interdisciplinary approach, which includes the knowledge form cultural studies, media studies, and management of sociocultural activity. Using the comparative one, we try to highlight the main international events of the studied theatres and their role in the representation of Ukrainian culture. The scientific novelty of the research is the analysis of the international cultural collaborations of the opera houses under the martial law on the examples of national operas of Kyiv, Odesa, and Lviv in 2022 – 2023. Conclusions. Analysing the content, which in open access on the official websites of the studied theatres, we can state that the international collaborations are reflected in the participation of theatres and their artists in charitable events outside the country in online and offline formats, including a number of charity events organised by theatres as part of the “Stand with Ukraine” project.
 Keywords: cultural practices, international collaboration, opera houses of Ukraine, ballet, opera, art project.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"28 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":"135218715","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}

{"title":"Piano Concert by Y.N. Hummel No. 2 in a Minor Op. 85 in the Context of Biedermeier's Art of \"Light\" Pianism of the First Half of the 19th Century","authors":"Juntao Xuang","doi":"10.32461/2226-3209.3.2023.289864","DOIUrl":"https://doi.org/10.32461/2226-3209.3.2023.289864","url":null,"abstract":"The purpose of this study is the analysis of Y.H. Hummel's Second Piano Concerto from the perspective of Biedermeier's positions of \"light\" (\"diamond\") pianism of the Restoration era, which deployed saving the spiritual foundations of Rococo in the conditions of secularised art of the post-Vienna school. The methodological basis of the research is the intonation approach of the school of B. Asafyev in Ukraine, which is embodied in the works of D. Androsova, O. Markova, O. Muravska, L. Shevchenko and has direct implications for the institutions of Chinese musicology (see the works of Ma Wei, Wu Golin, others). The specifics of the methods of historical-descriptive, musicological analytical, cultural, stylistic comparative, interdisciplinary approach make up the specifics of the research apparatus of the author of the essay. The scientific novelty of the work is revealed in the fact that, for the first time in Ukrainian and Chinese musicology, the so-called Concerto of Y.H. Hummel is analysed in the light of the positions of Biedermeier's \"diamond\" pianism of \"light play\" in the continuation of Mozartianism in piano works (based on the works of D. Androsova and L. Shevchenko) and in the development of the concept of neo-symbolism of post-avant-garde modernity according to O. Markova in relation to the performing revival of Hummel's heritage. Conclusions. Piano concert by Y.N. Hummel's A-moll op. 85 is marked by the advantages of pianistic lyrical flourishes over the manifestations of theatrical drama. The predominance of the lyricism of piano flourishes feeds the positions of romanticism against the background of Biedermeier's ideal expressive instructions, inspired by religious sobriety and, like Rococo art, addressed to the ideal aspirations of the soul and a harmonious worldview. In the Concerto, we rely on Mozartian tectonics (the theme of the soloist in the second exposition, mainly a compensatory function of the orchestra), the structure is dominated by exposition, which \"washes away\" the sonata relations. The predominant position of \"piano lyricism\" of ultra-fast finger \"small technique\", the presence of genres (signs of march, nocturne, anthem) in the expressiveness of themes, \"obliteration\" of tempo-textural contrasts between the extreme and middle parts of the cycle are evident. The features of crescendoing drama with increasing movement intensity from the beginning to the end of the concert cycle in a two-phase (Parts I-II-III) presentation of energy accumulation are revealed, which corresponds to the two-phase nature of the early Christian liturgy honoured by the Biedermeier culture.
 Keywords: piano Mozartianism, pianism, \"easy\", \"diamond\" playing style, musical genre, style in music, concert.","PeriodicalId":497790,"journal":{"name":"Vìsnik Deržavnoï akademìï kerìvnih kadrìv kulʹturi ì mistectv","volume":"9 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":"135219289","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}