Pub Date : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283127
Igor Savchuk, Taisiya Bilyanska
The article summarizes the use of bandura in the compositional ideas of Maryna Denysenko, a famous Ukrainian composer (1962–2022). The nature of the bandura use in the artist’s works suggests the process of the academicization of the instrument. Engaging bandura in the Winter and Spring play and in the August the Sickle cycle, Maryna Denysenko makes this instrument a mediator between the musical material of a non-folklore nature and the folklore themes declared in the programmatic titles of the works. In general, Denysenko’s results demonstrate high mastery of compositional technique and artistic perfection, corresponding to contemporary musical trends. This once again confirms the urgent need to revive and explore her work. The analysis of Maryna Denysenko’s works featuring bandura revealed the following stylistic features of the composer’s creative method: a tendency to a programmatic approach, to the realization of folklore themes without explicit references to the characteristics of traditional genres of Ukrainian folklore in the musical language, and to a pronounced integrity of the composition. Her ideas in the field of instrumental bandura are characterized by the use of decentralized harmonic systems and modality in the principles of the harmonic basis of her compositions. These are the regularities of constructing colorful intonational material based on movements ofseconds asthe main structural microelements. The components of the author’sstyle of the instrumental chamber works with bandura were revealed, including the exchange ofroles between bandura and piano at certain moments of the work; elaborate composition with the dominating improvisation; a significant role of polyphonic techniques (use of equirhythmic counterpoint, various imitations, canons with two or more voices); numerous instances of inventive sound imagery (for example, the depiction of the sounds of drops and gurgling water in the third movement with the help of bells, a xylophone, or the layering of aleatoric techniques of bandura performance and pizzicato strings).
{"title":"Bandura in the Late 1990s and Early 2000s Compositions by Maryna Denysenko: Genre and Stylistic Context of Ideas","authors":"Igor Savchuk, Taisiya Bilyanska","doi":"10.31500/1992-5514.19(1).2023.283127","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283127","url":null,"abstract":"The article summarizes the use of bandura in the compositional ideas of Maryna Denysenko, a famous Ukrainian composer (1962–2022). The nature of the bandura use in the artist’s works suggests the process of the academicization of the instrument. Engaging bandura in the Winter and Spring play and in the August the Sickle cycle, Maryna Denysenko makes this instrument a mediator between the musical material of a non-folklore nature and the folklore themes declared in the programmatic titles of the works. In general, Denysenko’s results demonstrate high mastery of compositional technique and artistic perfection, corresponding to contemporary musical trends. This once again confirms the urgent need to revive and explore her work. The analysis of Maryna Denysenko’s works featuring bandura revealed the following stylistic features of the composer’s creative method: a tendency to a programmatic approach, to the realization of folklore themes without explicit references to the characteristics of traditional genres of Ukrainian folklore in the musical language, and to a pronounced integrity of the composition. Her ideas in the field of instrumental bandura are characterized by the use of decentralized harmonic systems and modality in the principles of the harmonic basis of her compositions. These are the regularities of constructing colorful intonational material based on movements ofseconds asthe main structural microelements. The components of the author’sstyle of the instrumental chamber works with bandura were revealed, including the exchange ofroles between bandura and piano at certain moments of the work; elaborate composition with the dominating improvisation; a significant role of polyphonic techniques (use of equirhythmic counterpoint, various imitations, canons with two or more voices); numerous instances of inventive sound imagery (for example, the depiction of the sounds of drops and gurgling water in the third movement with the help of bells, a xylophone, or the layering of aleatoric techniques of bandura performance and pizzicato strings).","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222111","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283112
Olexander Klekovkin
.In Ukrainian, the online search for “theatre directing system” provides over seventy thousand results, while the search for “theatre system” over four thousand, which is proof ofthese concepts to be quite widespread. However, comparing the content ofthe search query is disappointing, asit reveals the oversaturation of art history with various terms that serve asshallow labels: different scholars use these terms differently under different circumstances and in different periods. This can be illustrated with many examples, yet, the most elementary would be the most telling: anyone can count the number of some objects, for instance, of apples in a basket, as we know the features that distinguish an apple from a non-apple. Nevertheless, no proper theatre researcher or practitioner would dare to name the number of theatre directing systems, as the boundaries of this concept are too vague. At most, what could be listed isthe number of popular, “iconic” systems; and yet, any given number would be true and false at the same time. The same is accurate for the concept of an “artwork”: according toMarcel Duchamp, itis enough only to label any object as art and place itin the “art space.” This paper addresses a “(theatre) directing system”: the history ofthe concept, its essence, and its features that define the scope of its use.
{"title":"Theatre Directing System: The Scope of the Concept","authors":"Olexander Klekovkin","doi":"10.31500/1992-5514.19(1).2023.283112","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283112","url":null,"abstract":".In Ukrainian, the online search for “theatre directing system” provides over seventy thousand results, while the search for “theatre system” over four thousand, which is proof ofthese concepts to be quite widespread. However, comparing the content ofthe search query is disappointing, asit reveals the oversaturation of art history with various terms that serve asshallow labels: different scholars use these terms differently under different circumstances and in different periods. This can be illustrated with many examples, yet, the most elementary would be the most telling: anyone can count the number of some objects, for instance, of apples in a basket, as we know the features that distinguish an apple from a non-apple. Nevertheless, no proper theatre researcher or practitioner would dare to name the number of theatre directing systems, as the boundaries of this concept are too vague. At most, what could be listed isthe number of popular, “iconic” systems; and yet, any given number would be true and false at the same time. The same is accurate for the concept of an “artwork”: according toMarcel Duchamp, itis enough only to label any object as art and place itin the “art space.” This paper addresses a “(theatre) directing system”: the history ofthe concept, its essence, and its features that define the scope of its use.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"33 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222113","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283147
Mykhailo Titarov
The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace the first violin, so the genres of trio and quartet for clarinet and string instruments became the most popular. In the ensembles with a larger number of participants, the search for optimal performing compositions continued. One of them was a quintet for clarinet, two violins, viola, and cello. It required independence of all parts and did not allow the interchangeability of clarinet and violin. Individual works were written for this composition, one of them isin the pieces byC. Stamitz. It isindicated that the connection between composers and clarinetists appeared for the first time in the legacy of Mannheim school. A conclusion is made about the influence of chamber music with the participation of clarinet representatives of the Mannheim chapel on the genre and style priorities of W.A. Mozart, whose works include a clarinet quintet (1789).
{"title":"Clarinet Quintet and the Legacy of the Mannheim Chapel Composers","authors":"Mykhailo Titarov","doi":"10.31500/1992-5514.19(1).2023.283147","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283147","url":null,"abstract":"The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace the first violin, so the genres of trio and quartet for clarinet and string instruments became the most popular. In the ensembles with a larger number of participants, the search for optimal performing compositions continued. One of them was a quintet for clarinet, two violins, viola, and cello. It required independence of all parts and did not allow the interchangeability of clarinet and violin. Individual works were written for this composition, one of them isin the pieces byC. Stamitz. It isindicated that the connection between composers and clarinetists appeared for the first time in the legacy of Mannheim school. A conclusion is made about the influence of chamber music with the participation of clarinet representatives of the Mannheim chapel on the genre and style priorities of W.A. Mozart, whose works include a clarinet quintet (1789).","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222106","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283145
Ivanna Matkovska
The paper aims to study and publicize educational activities and exhibitions in Krakow by Oleksa Novakivskyi (1872– 1935), an outstanding Ukrainian artist — symbolist, expressionist, graphic artist, and educator, who over 20 years lived in Krakow (1892–1913) and Lviv (1913–1935) and founded his own art school in Lviv (1923–1935) for 100 students. The archival documents of the 1890s–1900s from the Archives of the Krakow Academy of Arts about Oleksa Novakivskyi’s studies in 1892–1904 were investigated. Oleksa Novakivskyi’sreport cards of 1892–1904 from the Krakow School and the Academy of Fine Arts were first introduced into scientific circulation. It was discovered that in 1892–1898 Oleksa Novakivskyi studied at the Department of Drawing of the Krakow School of Fine Arts (with a pause in 1893–1895) and received an “award in the competition” (1896), silver medals on July 15, 1897 and July 23, 1898 at the course of prof. Unierzyski, Stanislawski. In 1898–1901 Oleksa Novakivskyi studied at the Department of Fine Art, where he received a silver medal (1899) and a gold medal on July 15, 1900, on the course of Prof. Wyczółkowski, Stanislawski. In 1901–1904 Novakivskyi continued his studies at the Department of Fine Art at the School of Prof. Wyczółkowski at the Krakow Academy of Arts. It was established that Novakivski’s teachers in Krakow were the professors Florian Cynk, Jozef Unierzyski, Leon Wyczółkowski, Jan Stanislawski. In addition, personal documents of the painter’sspouse (whom the researchers previously listed as Anna-Maria) from the archives of Lviv and Krakow were introduced into scientific circulation (the identity card of Maryanna Rozalia Nowakowska, 1916; Birth Certificate of Maryanna Rosalia Palmowska, 1888), as well as the Polish specialized and popular periodicals of the 1890s–1930s that mentioned Oleksa Novakivskyi’s exhibitions participation in Krakow and Warsaw.
本文旨在研究和宣传Oleksa Novakivskyi(1872 - 1935)在克拉科夫的教育活动和展览，Oleksa Novakivskyi(1872 - 1935)是一位杰出的乌克兰艺术家-象征主义，表现主义，平面艺术家和教育家，他在克拉科夫(1892-1913)和利沃夫(1913-1935)生活了20多年，并在利沃夫建立了自己的艺术学校(1923-1935)，有100名学生。本文调查了克拉科夫艺术学院档案馆19世纪90年代至20世纪90年代有关Oleksa Novakivskyi 1892年至1904年研究的档案文件。Oleksa Novakivskyi在克拉科夫学校和美术学院的1892-1904年的成绩单首次被引入科学界。人们发现，在1892-1898年，Oleksa Novakivskyi在克拉科夫美术学院绘画系学习(1893-1895年暂停)，并在1897年7月15日和1898年7月23日在Stanislawski教授的课程中获得了“比赛奖”(1896年)，银牌。1898年至1901年，Oleksa Novakivskyi在美术系学习，1899年获得银牌，1900年7月15日在Stanislawski教授Wyczółkowski的课程上获得金牌。1901-1904年，诺瓦基夫斯基继续在克拉科夫艺术学院Wyczółkowski教授学院的美术系学习。已经确定Novakivski在克拉科夫的老师是Florian Cynk, Jozef Unierzyski, Leon Wyczółkowski, Jan Stanislawski教授。此外，来自利沃夫和克拉科夫档案馆的画家配偶(研究人员之前将其列为安娜-玛丽亚)的个人文件也被引入了科学流通(玛丽安娜·罗扎利亚·诺瓦科夫斯卡的身份证，1916年;Maryanna Rosalia Palmowska的出生证明(1888)，以及19世纪90年代至30年代的波兰专业和流行期刊，其中提到Oleksa Novakivskyi在克拉科夫和华沙参加展览。
{"title":"Oleksa Novakivskyi: Unknown pages of study and life from Archival Materials of the Krakow Academy of Arts","authors":"Ivanna Matkovska","doi":"10.31500/1992-5514.19(1).2023.283145","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283145","url":null,"abstract":"The paper aims to study and publicize educational activities and exhibitions in Krakow by Oleksa Novakivskyi (1872– 1935), an outstanding Ukrainian artist — symbolist, expressionist, graphic artist, and educator, who over 20 years lived in Krakow (1892–1913) and Lviv (1913–1935) and founded his own art school in Lviv (1923–1935) for 100 students. The archival documents of the 1890s–1900s from the Archives of the Krakow Academy of Arts about Oleksa Novakivskyi’s studies in 1892–1904 were investigated. Oleksa Novakivskyi’sreport cards of 1892–1904 from the Krakow School and the Academy of Fine Arts were first introduced into scientific circulation. It was discovered that in 1892–1898 Oleksa Novakivskyi studied at the Department of Drawing of the Krakow School of Fine Arts (with a pause in 1893–1895) and received an “award in the competition” (1896), silver medals on July 15, 1897 and July 23, 1898 at the course of prof. Unierzyski, Stanislawski. In 1898–1901 Oleksa Novakivskyi studied at the Department of Fine Art, where he received a silver medal (1899) and a gold medal on July 15, 1900, on the course of Prof. Wyczółkowski, Stanislawski. In 1901–1904 Novakivskyi continued his studies at the Department of Fine Art at the School of Prof. Wyczółkowski at the Krakow Academy of Arts. It was established that Novakivski’s teachers in Krakow were the professors Florian Cynk, Jozef Unierzyski, Leon Wyczółkowski, Jan Stanislawski. In addition, personal documents of the painter’sspouse (whom the researchers previously listed as Anna-Maria) from the archives of Lviv and Krakow were introduced into scientific circulation (the identity card of Maryanna Rozalia Nowakowska, 1916; Birth Certificate of Maryanna Rosalia Palmowska, 1888), as well as the Polish specialized and popular periodicals of the 1890s–1930s that mentioned Oleksa Novakivskyi’s exhibitions participation in Krakow and Warsaw.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"516 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222115","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283140
Viktor Ruban
Institutionally, contemporary dance in Ukraine is represented only in the curricula of state art educational institutions. As a result, contemporary dance and contemporary choreography are defined and studied according to the formal features and is framed as styles, forms, techniques, and trends. In addition, phenomena and projects of contemporary dance in Ukraine mostly are not considered, perceived, or studied in the context of the development of dance culture and physical culture in general, or the art of dance, choreography, and performing arts in particular. This extremely limits the understanding of the real influence and role of contemporary dance in mentioned contexts. The paper introduces the Little Prince art project of contemporary dance and the related projects of Moving Arts Project company (Netherlands), created in interaction with the social groups of the Transvaal district of the city of Amsterdam, by exploring the cultural impact and institutional aspect of project implementation, including their interrelation. The aim of the paper isto present the practice of contemporary dance in a wider context, to follow their integration into cultural processes, to reveal the interaction of contemporary dance with other institutions, as well as to briefly review the institutional representation of contemporary dance in the Netherlands and its current challenges.
{"title":"Contemporary Dance Interacting with Diverse Social Groups: Institutional Aspect and Cultural Impact","authors":"Viktor Ruban","doi":"10.31500/1992-5514.19(1).2023.283140","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283140","url":null,"abstract":"Institutionally, contemporary dance in Ukraine is represented only in the curricula of state art educational institutions. As a result, contemporary dance and contemporary choreography are defined and studied according to the formal features and is framed as styles, forms, techniques, and trends. In addition, phenomena and projects of contemporary dance in Ukraine mostly are not considered, perceived, or studied in the context of the development of dance culture and physical culture in general, or the art of dance, choreography, and performing arts in particular. This extremely limits the understanding of the real influence and role of contemporary dance in mentioned contexts. The paper introduces the Little Prince art project of contemporary dance and the related projects of Moving Arts Project company (Netherlands), created in interaction with the social groups of the Transvaal district of the city of Amsterdam, by exploring the cultural impact and institutional aspect of project implementation, including their interrelation. The aim of the paper isto present the practice of contemporary dance in a wider context, to follow their integration into cultural processes, to reveal the interaction of contemporary dance with other institutions, as well as to briefly review the institutional representation of contemporary dance in the Netherlands and its current challenges.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222336","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283143
Oleksandr Ostrovskyi
The paper addresses the interaction of music with a mythical chronotope in the cinematographic work. The temporal and spatial properties of the audio component in cinema were characterized. A terminological basis, which allows outlining most of the variants ofspatio-temporal interaction of music in the cinematographic space in detail, is provided. It is assumed that the fantastical gap—the moment of transition from diegetic to nondiegetic space and vice versa—can have a wider meaning and application. Variants of the interplay of music with the mythical chronotope are described due to the conflicts of linear and cyclic time, real and ideal space. The paper focuses on such interaction in the works of the classic Italian cinema director Luchino Visconti because his filmography is largely associated with the category of the mythical. The episodes of the director’s two films, in which the characters’ consciousness shifts in time and space occur, are analyzed. A comparison of the regularities of the combination of music and the mythical chronotope in L. Visconti’s films with the debut of one of the Franco-British playwright and director Florian Zeller is performed. The similarity in the way the directors work with the depiction of the conflict between the mythical space and objective reality is revealed. It was proven that F. Zeller’s use of academic music citations functions similarly to the corresponding technique in L. Visconti’s films: in both cases, such quotes emphasize the space of the “ideal.” The difference in the directors’ approaches is justified, which consists in choosing the “ideal” dimension of the hero: for the characters of L. Visconti, it is a myth, while for the characters of F. Zeller, it is an objective reality. It is concluded that the way music interacts with the mythical chronotope can be influenced not only by external factors of the spatio-temporal connections of audio and video tracks but also by intra-narrative ones—for example, the existential choice of the hero.
{"title":"Interaction of Music and the Mythical Chronotope: Comparative Analysis of the Films by L. Visconti and F. Zeller","authors":"Oleksandr Ostrovskyi","doi":"10.31500/1992-5514.19(1).2023.283143","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283143","url":null,"abstract":"The paper addresses the interaction of music with a mythical chronotope in the cinematographic work. The temporal and spatial properties of the audio component in cinema were characterized. A terminological basis, which allows outlining most of the variants ofspatio-temporal interaction of music in the cinematographic space in detail, is provided. It is assumed that the fantastical gap—the moment of transition from diegetic to nondiegetic space and vice versa—can have a wider meaning and application. Variants of the interplay of music with the mythical chronotope are described due to the conflicts of linear and cyclic time, real and ideal space. The paper focuses on such interaction in the works of the classic Italian cinema director Luchino Visconti because his filmography is largely associated with the category of the mythical. The episodes of the director’s two films, in which the characters’ consciousness shifts in time and space occur, are analyzed. A comparison of the regularities of the combination of music and the mythical chronotope in L. Visconti’s films with the debut of one of the Franco-British playwright and director Florian Zeller is performed. The similarity in the way the directors work with the depiction of the conflict between the mythical space and objective reality is revealed. It was proven that F. Zeller’s use of academic music citations functions similarly to the corresponding technique in L. Visconti’s films: in both cases, such quotes emphasize the space of the “ideal.” The difference in the directors’ approaches is justified, which consists in choosing the “ideal” dimension of the hero: for the characters of L. Visconti, it is a myth, while for the characters of F. Zeller, it is an objective reality. It is concluded that the way music interacts with the mythical chronotope can be influenced not only by external factors of the spatio-temporal connections of audio and video tracks but also by intra-narrative ones—for example, the existential choice of the hero.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"286 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222105","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283149
Iryna Ushanova-Rudko
The performance interpretation of Miroslava’s vocal part in The Golden Hoop opera by Borys Lyatoshinsky was considered. The leading role of this character in the development of the overall concept of the opera was clarified. Myroslava’s vocal part was analyzed at different moments of its formation: during the exposition in the first picture, the unfolding and development of the heroine’s vocal intonations in the third and fifth pictures, and during the qualitative transformation of her melody at the final stage of the formation of the image in the sixth and eighth pictures. The intonation specificity of the melodic pattern and its connection with the emotional and psychological development of the image were revealed. Difficulties that the singer must overcome while working on Myroslava’s part were identified, namely, the ability to sing at extreme dynamic values, to quickly change the strength and volume of the voice, to master the technique of intoning jumps for large intervals up and down, the ability to sing in a situation of polytonal and polyladic counterpoint in ensembles and accompanied by an orchestra. The dependence of the performer’s interpretation of the vocal part on the expressiveness of the unfolding and transformation of Myroslava’s image during the opera was determined.
{"title":"Performance Interpretation of Miroslava’s Vocal Part in The Golden Hoop Opera by Borys Lyatoshynsky","authors":"Iryna Ushanova-Rudko","doi":"10.31500/1992-5514.19(1).2023.283149","DOIUrl":"https://doi.org/10.31500/1992-5514.19(1).2023.283149","url":null,"abstract":"The performance interpretation of Miroslava’s vocal part in The Golden Hoop opera by Borys Lyatoshinsky was considered. The leading role of this character in the development of the overall concept of the opera was clarified. Myroslava’s vocal part was analyzed at different moments of its formation: during the exposition in the first picture, the unfolding and development of the heroine’s vocal intonations in the third and fifth pictures, and during the qualitative transformation of her melody at the final stage of the formation of the image in the sixth and eighth pictures. The intonation specificity of the melodic pattern and its connection with the emotional and psychological development of the image were revealed. Difficulties that the singer must overcome while working on Myroslava’s part were identified, namely, the ability to sing at extreme dynamic values, to quickly change the strength and volume of the voice, to master the technique of intoning jumps for large intervals up and down, the ability to sing in a situation of polytonal and polyladic counterpoint in ensembles and accompanied by an orchestra. The dependence of the performer’s interpretation of the vocal part on the expressiveness of the unfolding and transformation of Myroslava’s image during the opera was determined.","PeriodicalId":499711,"journal":{"name":"Hudožnâ kulʹtura","volume":"361 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136222109","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 : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283136
Iryna Yatsyk
The paper examines the works of the GAZ art group, a Ukrainian creative duo of Vasyl Grublyak and Oleksii Zolotar1. In the context of modern art in Ukraine, their pieces exemplify the relationship between two genres of art: performance and sculpture. The main conceptual principles of the art actions RuTyna (2014), Ritual of Approval (2014, 2015), Armory Room (2014), and their practical implementation were considered; interpretation options were suggested. It was hypothesized that despite the obvious socially-critical orientation of the GAZ group’s art actions, the ideas of experimenting with space and analysis of its transformations are at the essence of their creativity. The connection between the artistic activity of the GAZ group and the current sociopolitical context was established, with a perspective for interdisciplinary study within the academic programs of spatial art, aimed at exploring a wide range of options of three-dimensional form, including installation art, sculpture, performance art, multimedia, and digital production
本文考察了由Vasyl Grublyak和Oleksii Zolotar1组成的乌克兰创意二人组GAZ艺术团体的作品。在乌克兰现代艺术的背景下，他们的作品体现了两种艺术类型之间的关系:表演和雕塑。考察了《RuTyna》(2014)、《Ritual of Approval》(2014、2015)、《Armory Room》(2014)等艺术行为的主要概念原则及其实际实施;提出了口译备选办法。有人假设，尽管GAZ团体的艺术行为具有明显的社会批判倾向，但对空间的实验和对其转变的分析是他们创造力的本质。GAZ团体的艺术活动与当前的社会政治背景之间建立了联系，在空间艺术的学术项目中进行跨学科研究，旨在探索三维形式的广泛选择，包括装置艺术、雕塑、行为艺术、多媒体和数字制作
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Pub Date : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283357
Pavlo Shopin, Iuliia Bentia
The article argues that the Pygmalion myth in the works of André-François Boureau-Deslandes and Jean-Jacques Rousseau can be studied as a metaphor for the modern subject, highlighting the ambivalence of modernity. By closely reading the texts, the authors show that the Enlightenment versions of the Pygmalion myth present both a reality and an illusion, and the balance of knowing and not-knowing allows for their critical assessment. Drawing on academic publications on the subject of modernity, the study posits that it is split between myth and enlightenment, and the Pygmalion myth sheds light on this dichotomy. In the framework of conceptual metaphor theory, the study demonstrates that artists use this myth to contemplate on their works and present the mythical consciousness of the subject but they also strive to demythologize it according to their understanding or not-understanding of the miracle. Mythical consciousness enables Pygmalion to realize the miracle of animation either through the materialist philosophy of André-François Boureau-Deslandes or the sentimentalism of Jean-Jacques Rousseau but the sculptor risks becoming a slave to mythology orinstrumental reason. The dialectic of the myth captures the moment when Pygmalion may either give in to the illusion or doubt the credibility of the miracle.
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Pub Date : 2023-06-13DOI: 10.31500/1992-5514.19(1).2023.283123
Serhii Hulievych
The article examines Ukrainian etching of the first half of the 20th century through the prism of the battle genre. The specified period is characterized by active socio-political and socio-cultural changes. Ukrainian etching is considered in the context of the styles and directions of art of the specified period, as well as the influence of European masters. The theoretical basis for the research was the works of domestic art critics and cultural experts. The subject of the research is etching and the peculiarities of its existence during the period of socio-cultural changes. The main emphasis of the study of the battle theme in Ukrainian etching is focused on its connotation with the European school. An analysis of the main points of interaction between Ukrainian and European engraving was carried out. It is established that the main points of intersection of the two cultures are education and exhibition activity, borrowing and imitation. Two groups of artists were formed according to their relation to the war. It was found that artists who are directly related to the war receive high-quality and more reliable preparatory materials for creating an artistic work. The main features of European art, which became the forerunner of Ukrainian etching, have been established. An analysis of art tasks was carried out separately. It was determined that the main task of an engraver working within the battle genre isto preserve the aesthetic component of the work. At the same time, the artist must convey to the viewer all the fury and horror, realism and authenticity of war. The methodological foundations of the research are based on the principle of historicism and a systemic approach, which provide an objective and theoretical approach to research.
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