Pub Date : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302116
Anton-Hryhorii Tsona
The purpose of the article is to study the director's technique of destroying the stereotypical perception of a comic actor in a dramatic role and to prove that this is a way to create a counterpoint in the acting ensemble. Research methodology. The following scientific research methods were used: analysis (to process films, theoretical works, articles by film critics and journalists), comparison (to identify the features of stylistic decisions in films), induction (to derive general principles from specific examples in the work of Jim Carey), generalisation (to write conclusions). Scientific novelty. For the first time, the possibilities of using a comedic actor in film dramas are analysed, the semantic and stylistic effect arising from such a directorial decision is investigated. The emotional impact on the viewer's perception is determined, the principles of casting for supporting roles to create a counterpoint in the acting ensemble are derived. Conclusions. A comic actor in a dramatic role has a significant impact on the style of the film. Such a directorial decision can lead to a duality of perception of the character; the author, imposing tragic elements of the newly created image on the previous experience of contemplating the performer's comic roles, creates a problem of "trust" in the actor for the audience. The introduction of the factor of unrealism allows for a natural combination of stylised and realistic acting. This combination creates a counterpoint in the acting ensemble and charges the conflict with the very coexistence of the actors. The combination of the comic and the acutely dramatic works to increase tension and create additional conflicts. This can be used as the following directorial tools: creating emotional amplification and empathy; softening the perception of a complex topic; creating a sense of background for a character; recognising another layer of meaning in a familiar style of acting. The author concludes that further research into the diverse range of effects of using comedic actors in dramatic films is promising.
{"title":"Director's Use of a Comic Actor in a Dramatic Role on the Example of Jim Carey's Work","authors":"Anton-Hryhorii Tsona","doi":"10.32461/2226-3209.1.2024.302116","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302116","url":null,"abstract":"The purpose of the article is to study the director's technique of destroying the stereotypical perception of a comic actor in a dramatic role and to prove that this is a way to create a counterpoint in the acting ensemble. Research methodology. The following scientific research methods were used: analysis (to process films, theoretical works, articles by film critics and journalists), comparison (to identify the features of stylistic decisions in films), induction (to derive general principles from specific examples in the work of Jim Carey), generalisation (to write conclusions). Scientific novelty. For the first time, the possibilities of using a comedic actor in film dramas are analysed, the semantic and stylistic effect arising from such a directorial decision is investigated. The emotional impact on the viewer's perception is determined, the principles of casting for supporting roles to create a counterpoint in the acting ensemble are derived. Conclusions. A comic actor in a dramatic role has a significant impact on the style of the film. Such a directorial decision can lead to a duality of perception of the character; the author, imposing tragic elements of the newly created image on the previous experience of contemplating the performer's comic roles, creates a problem of \"trust\" in the actor for the audience. The introduction of the factor of unrealism allows for a natural combination of stylised and realistic acting. This combination creates a counterpoint in the acting ensemble and charges the conflict with the very coexistence of the actors. The combination of the comic and the acutely dramatic works to increase tension and create additional conflicts. This can be used as the following directorial tools: creating emotional amplification and empathy; softening the perception of a complex topic; creating a sense of background for a character; recognising another layer of meaning in a familiar style of acting. The author concludes that further research into the diverse range of effects of using comedic actors in dramatic films is promising.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"2 12","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696240","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302031
I. Hurova
The purpose of the article is to reveal the essence of fan culture, analysing its evolution from passive consumption of mass culture products to active creation of popular culture. Research methodology. General scientific methods were used: analysis and synthesis – to interpret fan studies and consider contemporary scientific discourse. The comparative method was used to compare the features and characteristics of fan cultures and to show the difference between fans and fanatics. The historical method was used to show the evolution of fan culture. The scientific novelty lies in the identification of the essence of fan cultures and their contribution to the creation of contemporary popular culture, fan cultures and their contribution to the creation of contemporary popular culture. Conclusions. It has been established that, in a broad sense, fan culture is a specific way of life of fans of a particular cultural phenomenon or a carrier of a particular cultural tradition. In a narrower sense, fan culture is not a homogeneous entity with the same characteristics, so the term "fan culture" is used to refer to a number of different groups of fans who have united around a common interest in a particular mass cultural product. It is proved that the emergence of fan communities as groups of joint creativity of fans of literary works, television series, comics, computer games and other mass culture products has become a vivid phenomenon of popular culture creation. It finds that the intensive development of digital technologies has contributed to the transfer of fan communication to the Internet and the emergence of media fandom as a fan community in the digital age. The digital practices of media fandom are found to contribute to the expansion and enrichment of cultural diversity and creativity, adding new meanings, interpretations, genres, and styles to the creation of contemporary popular culture.
{"title":"Fan Culture: From Consumption of the Mass to Creation of the Popular","authors":"I. Hurova","doi":"10.32461/2226-3209.1.2024.302031","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302031","url":null,"abstract":"The purpose of the article is to reveal the essence of fan culture, analysing its evolution from passive consumption of mass culture products to active creation of popular culture. Research methodology. General scientific methods were used: analysis and synthesis – to interpret fan studies and consider contemporary scientific discourse. The comparative method was used to compare the features and characteristics of fan cultures and to show the difference between fans and fanatics. The historical method was used to show the evolution of fan culture. The scientific novelty lies in the identification of the essence of fan cultures and their contribution to the creation of contemporary popular culture, fan cultures and their contribution to the creation of contemporary popular culture. Conclusions. It has been established that, in a broad sense, fan culture is a specific way of life of fans of a particular cultural phenomenon or a carrier of a particular cultural tradition. In a narrower sense, fan culture is not a homogeneous entity with the same characteristics, so the term \"fan culture\" is used to refer to a number of different groups of fans who have united around a common interest in a particular mass cultural product. It is proved that the emergence of fan communities as groups of joint creativity of fans of literary works, television series, comics, computer games and other mass culture products has become a vivid phenomenon of popular culture creation. It finds that the intensive development of digital technologies has contributed to the transfer of fan communication to the Internet and the emergence of media fandom as a fan community in the digital age. The digital practices of media fandom are found to contribute to the expansion and enrichment of cultural diversity and creativity, adding new meanings, interpretations, genres, and styles to the creation of contemporary popular culture.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"74 S332","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140694830","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302016
Nataliia Zhukova
The purpose of the article is to analyse the phenomenon of fear from the standpoint of phenomenology and existentialism, to examine the reflection of fear in European and Ukrainian art of the 20th and early 21st centuries. The research methodology includes the general scientific principles of systematisation and generalisation of the problem under study, which made it possible to identify and scientifically substantiate existing theories, conceptual approaches to understanding the phenomenon of fear, such as "metaphysical fear", "existential fear", "ontic fear", "spiritual fear", and "moral fear". The phenomenological method allowed us to study the internal nature of fear, in particular, different states of fear: anxiety, fear, horror. The historical and cultural approach has been used to examine the evolution of fear theories from ancient times to the present. A significant role in understanding the phenomenon of fear is played by an interdisciplinary approach, which allowed us to analyse this phenomenon with the wide involvement of the scientific achievements of a number of humanities, including cultural studies, philosophy, aesthetics, art history, and psychology. The scientific novelty lies in the cultural analysis of reflections in the fine arts of the 20th and early 21st centuries on the phenomenon of fear. Conclusions. The tragedy of human destiny is expressed in such philosophical terms as fear (Kierkegaard, Jaspers, Heidegger), nausea, anxiety (Sartre), longing, boredom (Camus). The ontological significance of such mental states lies in the collision of consciousness with nothingness, with the abyss of existence. Metaphysical fear is related to time. Temporality is the main characteristic of human existence. Fear always appears to us in two guises: as a useful warning and at the same time as an obstacle. In a state of fear, a person faces the abyss of Nothingness. Those who experience existential fear feel the emptiness between themselves and the world of everyday relationships. However, it is only by experiencing fear and a sense of abandonment in the world that one finds true freedom. The theme of fear has inspired and continues to inspire many artists of the 20th and early 21st centuries. Unlike artists of previous generations, they try to show fear in their works. The fine arts of this period can be called an encyclopaedia of symptoms of fear, pain, and horror. Fear motivates us to act, to create. Therefore, the role that fear plays in our lives depends on the role we allow it to play. We can try to resist the impulses that cause fear to manifest, and we can try to replace fear with hope. Hope is stronger than fear because it is active and free from any bondage. The charge of hope expands a person's capabilities, not limits them. The more opportunities and creative potential a person has, the less fear they experience.
{"title":"Phenomenon of Fear: Reflection in Fine Arts of The 20th – Early 21st Century (Cultural Aspect)","authors":"Nataliia Zhukova","doi":"10.32461/2226-3209.1.2024.302016","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302016","url":null,"abstract":"The purpose of the article is to analyse the phenomenon of fear from the standpoint of phenomenology and existentialism, to examine the reflection of fear in European and Ukrainian art of the 20th and early 21st centuries. The research methodology includes the general scientific principles of systematisation and generalisation of the problem under study, which made it possible to identify and scientifically substantiate existing theories, conceptual approaches to understanding the phenomenon of fear, such as \"metaphysical fear\", \"existential fear\", \"ontic fear\", \"spiritual fear\", and \"moral fear\". The phenomenological method allowed us to study the internal nature of fear, in particular, different states of fear: anxiety, fear, horror. The historical and cultural approach has been used to examine the evolution of fear theories from ancient times to the present. A significant role in understanding the phenomenon of fear is played by an interdisciplinary approach, which allowed us to analyse this phenomenon with the wide involvement of the scientific achievements of a number of humanities, including cultural studies, philosophy, aesthetics, art history, and psychology. The scientific novelty lies in the cultural analysis of reflections in the fine arts of the 20th and early 21st centuries on the phenomenon of fear. Conclusions. The tragedy of human destiny is expressed in such philosophical terms as fear (Kierkegaard, Jaspers, Heidegger), nausea, anxiety (Sartre), longing, boredom (Camus). The ontological significance of such mental states lies in the collision of consciousness with nothingness, with the abyss of existence. Metaphysical fear is related to time. Temporality is the main characteristic of human existence. Fear always appears to us in two guises: as a useful warning and at the same time as an obstacle. In a state of fear, a person faces the abyss of Nothingness. Those who experience existential fear feel the emptiness between themselves and the world of everyday relationships. However, it is only by experiencing fear and a sense of abandonment in the world that one finds true freedom. The theme of fear has inspired and continues to inspire many artists of the 20th and early 21st centuries. Unlike artists of previous generations, they try to show fear in their works. The fine arts of this period can be called an encyclopaedia of symptoms of fear, pain, and horror. Fear motivates us to act, to create. Therefore, the role that fear plays in our lives depends on the role we allow it to play. We can try to resist the impulses that cause fear to manifest, and we can try to replace fear with hope. Hope is stronger than fear because it is active and free from any bondage. The charge of hope expands a person's capabilities, not limits them. The more opportunities and creative potential a person has, the less fear they experience.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"358 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698156","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302102
Oleksandr Stakhevych
The purpose of the article is to highlight the vocal-romance creativity of the outstanding Ukrainian composer of the first half of the 20th century Mykhailo Skorulskyi in the context of genre-style transformations and artistic challenges of the time. The methodological basis. A complex of scientific (theoretical and practical) methods is used to reveal the topic. To find out certain stages and features of the development of the romance genre in the work of M. Skorulskyi, biographical, historical-cultural and interdisciplinary methods were used. Providing a historically objective assessment of the composer’s chamber-vocal legacy became possible thanks to historical-comparative, systematic, axiological research methods. Establishing the specificity of the artist’s romance work was carried out with the help of music-theoretical analysis. Scientific novelty of the article. For the first time in Ukrainian musicology, the stylistic evolution of chamber-vocal genres in Ukrainian music of the first half of the 20th century was considered, using the example of Mykhailo Skorulskyi’s vocal-romance work. The stages are highlighted, the emotional and figurative sphere of the artist’s romance works is highlighted. Conclusions of the work. The stylistic transformations of M. Skorulskyi’s work as a composer in the genre of romance were determined both by the “internal” needs of the artist regarding the content, emotional content and figurative structure of the works, and by “external” – the influence of socio-political circumstances and ideological requirements of the Soviet culture of the 1920s and 1930s. The compositional evolution of M. Skorulskyi’s romance work reflects all stages of the development of the genre during the first half of the 20th century: from the subjectivist lyrics of the beginning of the century, through the heroic-revolutionary motifs of the 1920s and early 1930s, to nostalgic feelings and patriotic sentiments during the Second World War.
{"title":"Vocal and romance creativity of Ukrainian composers in the style dimensions of the Era: Mykhailo Skorulsky","authors":"Oleksandr Stakhevych","doi":"10.32461/2226-3209.1.2024.302102","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302102","url":null,"abstract":"The purpose of the article is to highlight the vocal-romance creativity of the outstanding Ukrainian composer of the first half of the 20th century Mykhailo Skorulskyi in the context of genre-style transformations and artistic challenges of the time. The methodological basis. A complex of scientific (theoretical and practical) methods is used to reveal the topic. To find out certain stages and features of the development of the romance genre in the work of M. Skorulskyi, biographical, historical-cultural and interdisciplinary methods were used. Providing a historically objective assessment of the composer’s chamber-vocal legacy became possible thanks to historical-comparative, systematic, axiological research methods. Establishing the specificity of the artist’s romance work was carried out with the help of music-theoretical analysis. Scientific novelty of the article. For the first time in Ukrainian musicology, the stylistic evolution of chamber-vocal genres in Ukrainian music of the first half of the 20th century was considered, using the example of Mykhailo Skorulskyi’s vocal-romance work. The stages are highlighted, the emotional and figurative sphere of the artist’s romance works is highlighted. Conclusions of the work. The stylistic transformations of M. Skorulskyi’s work as a composer in the genre of romance were determined both by the “internal” needs of the artist regarding the content, emotional content and figurative structure of the works, and by “external” – the influence of socio-political circumstances and ideological requirements of the Soviet culture of the 1920s and 1930s. The compositional evolution of M. Skorulskyi’s romance work reflects all stages of the development of the genre during the first half of the 20th century: from the subjectivist lyrics of the beginning of the century, through the heroic-revolutionary motifs of the 1920s and early 1930s, to nostalgic feelings and patriotic sentiments during the Second World War.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"136 5‐6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698485","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302068
Svitlana Dolesko
The purpose of the study is to establish the significance of hospitality traditions for modern diplomatic etiquette of Ukraine. The article discusses the modern use of hospitality traditions inherent in the Ukrainian folk culture in the practice of domestic diplomatic etiquette. Therefore, the focus of the article is a substantive analysis of the role of particular traditions, namely using the tradition of welcoming foreign delegations with bread and salt on an embroidered towel, singing welcoming songs, giving gifts to guests, which convey the traditions of material and immaterial culture of the Ukrainian people. The methodology of the study is determined by its tasks and is based on the principles of historicism and objectivity, using the methods of comparison and generalisation, analytical, and systematic methods. The scientific novelty of the study is determined by its topic and consists in distinguishing among the large-scale layer of archaic traditions of the Ukrainian people those that highlight the hospitality aspect of the Ukrainian people at the beginning of the 21st century, and studying their place in the domestic diplomacy of the modern period. Conclusions. The analysis of scholarly works showed that domestic scholars pay due attention to the study of folk traditions (L. Artiukh, T. Veselovska, N. Voitovych, O. Hrymak et al.) and diplomatic etiquette (I. Kozynets, V. Klymenko, O. Podvorna, O. Sahaidak, A. Chaban, Yu. Chuhaienko et al.), however, the role of Ukrainian national hospitality traditions in the 21st century has actually not been highlighted in the domestic scientific discourse. The customs analysed in the article (welcoming guests with bread and salt on an embroidered towel; treating guests to traditional dishes; welcoming guests with songs; giving guests valuable gifts) testified to the existence of the Ukrainian national traditions at the diplomatic level, which allows declaring the uniqueness of the Ukrainian culture in the world. It has been proven that popular Ukrainian hospitality plays an important role in diplomatic activities even at the beginning of the 21st century, which is regulated by the rules of diplomatic etiquette.
{"title":"Ukrainian Folk Traditions of Hospitality in the Context of Modern Diplomatic Etiquette","authors":"Svitlana Dolesko","doi":"10.32461/2226-3209.1.2024.302068","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302068","url":null,"abstract":"The purpose of the study is to establish the significance of hospitality traditions for modern diplomatic etiquette of Ukraine. The article discusses the modern use of hospitality traditions inherent in the Ukrainian folk culture in the practice of domestic diplomatic etiquette. Therefore, the focus of the article is a substantive analysis of the role of particular traditions, namely using the tradition of welcoming foreign delegations with bread and salt on an embroidered towel, singing welcoming songs, giving gifts to guests, which convey the traditions of material and immaterial culture of the Ukrainian people. The methodology of the study is determined by its tasks and is based on the principles of historicism and objectivity, using the methods of comparison and generalisation, analytical, and systematic methods. The scientific novelty of the study is determined by its topic and consists in distinguishing among the large-scale layer of archaic traditions of the Ukrainian people those that highlight the hospitality aspect of the Ukrainian people at the beginning of the 21st century, and studying their place in the domestic diplomacy of the modern period. Conclusions. The analysis of scholarly works showed that domestic scholars pay due attention to the study of folk traditions (L. Artiukh, T. Veselovska, N. Voitovych, O. Hrymak et al.) and diplomatic etiquette (I. Kozynets, V. Klymenko, O. Podvorna, O. Sahaidak, A. Chaban, Yu. Chuhaienko et al.), however, the role of Ukrainian national hospitality traditions in the 21st century has actually not been highlighted in the domestic scientific discourse. The customs analysed in the article (welcoming guests with bread and salt on an embroidered towel; treating guests to traditional dishes; welcoming guests with songs; giving guests valuable gifts) testified to the existence of the Ukrainian national traditions at the diplomatic level, which allows declaring the uniqueness of the Ukrainian culture in the world. It has been proven that popular Ukrainian hospitality plays an important role in diplomatic activities even at the beginning of the 21st century, which is regulated by the rules of diplomatic etiquette.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140698623","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302100
Olga Chystova
The purpose of the work is to identify the features of E. Villa-Lobos' polyphonic thinking based on its foundation in ancient polyphony, indicative of the thinking of the 20th century, which is uniquely presented in his 4th Brazilian Bachiane for piano. The methodological basis of the research 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, A. Sokolova), as well as relying on the developments of piano performance of the Odesa school (works by L. Shevchenko, T. Levytska, and technique of I. S. Bach, whose name is associated with the title of the works. Conclusions. The Bachianism of Villa-Lobos is organically connected with the traditions of early baroque instrumentalism, which in the first half of the 18th century, that is, in the era of I. S. Bach, was clearly basic in the European musical volume. The traditions of Brazil, in the professional sphere, are related to the art of the Romance countries, growing out of the culture of the European Renaissance, vocal singing and piano playing, related to the culture of string plucked instruments, was the basis of instrumental art. In addition to the forms of imitative polyphony, the Bachian features earlier manifestations of contrasting canzono-canto polyphony, which nourished the instrumentalism of the ensemble sonata and which is concentrated in the form of a sonata-concert of early baroque typologies in the Fourth Bachian. And the latter is directly related to the sacred dancing, which appears in many Bachians and has its basis in the Old Christian church, which is organic due to the importance of Old Catholicism in Brazil.
这项工作的目的是在古代复调音乐的基础上，找出 E. 比利亚-洛博斯复调思想的特点，这些特点体现了 20 世纪的思想，在他为钢琴创作的第 4 首巴西 Bachiane 中得到了独特的呈现。研究的方法论基础是音准法，这在乌克兰 B. Asafiev 的追随者的作品中有所体现（参见 D. Androsova、O. Markova、O. Muravska、A. Sokolova 的出版物），同时也依赖于敖德萨学派钢琴演奏的发展（L. Shevchenko、T. Levytska 的作品，以及 I. S. Bach 的技巧，其名字与作品标题相关）。结论。比利亚-洛博斯的巴赫主义与早期巴洛克器乐传统有机地联系在一起，在 18 世纪上半叶，即 I. S. 巴赫时代，早期巴洛克器乐显然是欧洲音乐的基础。在专业领域，巴西的传统与罗曼蒂克国家的艺术有关，从欧洲文艺复兴文化中发展而来，声乐演唱和钢琴演奏与弦弹拨乐器文化有关，是器乐艺术的基础。除了模仿复调形式外，巴赫早期还出现了康祖诺-康托对比复调，这种复调滋养了合奏奏鸣曲的器乐性，在《巴赫第四交响曲》中集中体现为早期巴洛克类型的奏鸣曲-音乐会形式。后者与神圣舞蹈直接相关，神圣舞蹈出现在许多巴赫作品中，其基础是旧基督教教堂，这与旧天主教在巴西的重要性是有机的。
{"title":"The Fourth of \"Brazilian Bachians\" by E. Villa-Lobos in the Context of Polyphonism of the 20th Century","authors":"Olga Chystova","doi":"10.32461/2226-3209.1.2024.302100","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302100","url":null,"abstract":"The purpose of the work is to identify the features of E. Villa-Lobos' polyphonic thinking based on its foundation in ancient polyphony, indicative of the thinking of the 20th century, which is uniquely presented in his 4th Brazilian Bachiane for piano. The methodological basis of the research 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, A. Sokolova), as well as relying on the developments of piano performance of the Odesa school (works by L. Shevchenko, T. Levytska, and technique of I. S. Bach, whose name is associated with the title of the works. Conclusions. The Bachianism of Villa-Lobos is organically connected with the traditions of early baroque instrumentalism, which in the first half of the 18th century, that is, in the era of I. S. Bach, was clearly basic in the European musical volume. The traditions of Brazil, in the professional sphere, are related to the art of the Romance countries, growing out of the culture of the European Renaissance, vocal singing and piano playing, related to the culture of string plucked instruments, was the basis of instrumental art. In addition to the forms of imitative polyphony, the Bachian features earlier manifestations of contrasting canzono-canto polyphony, which nourished the instrumentalism of the ensemble sonata and which is concentrated in the form of a sonata-concert of early baroque typologies in the Fourth Bachian. And the latter is directly related to the sacred dancing, which appears in many Bachians and has its basis in the Old Christian church, which is organic due to the importance of Old Catholicism in Brazil.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"22 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696295","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302089
Oleksiy Pastukhov
The purpose of the article is to trace the main stages of the formation and features of hip-hop as a popular modern dance with emphasis on its role in modern choreography. The research methodology is based on a combination of a number of general scientific (analysis, synthesis, generalisation, among others) and special methods and approaches integrated from art history, history. The scientific novelty consists in drawing attention to the need to study such a type of modern dance as hip-hop. Conclusions. Hip-hop dance is part of the larger hip-hop culture and reflects the freedom to learn and express oneself through movement. This mixed street style of social dance combines acrobatic movements, gymnastics, and rhythm and includes other artistic manifestations (graffiti, rap, in particular). Unlike other types of dance, it does not have specific movements that need to be performed one after another, as well as complex choreography that needs to be memorised. One of its most striking features is improvisation, the main task of which is to respond to the rhythm of the music and allow it to capture the body. In general, hip-hop dance plays an essential role in the diversity and development of modern choreography, bringing its unique energy, style, self-expression, and socio-cultural depth. Elements of hip-hop that significantly influence modern choreography, enriching its content and context, include authenticity of urban culture, socio-cultural elements (street fashion, music, graffiti art), support of collective creativity, constant evolutionary dynamics. Hip-hop is constantly evolving, and its performers integrate new elements and styles, making it a diverse and dynamic form of choreography.
{"title":"Hip-hop: characteristics and influences on modern choreography","authors":"Oleksiy Pastukhov","doi":"10.32461/2226-3209.1.2024.302089","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302089","url":null,"abstract":"The purpose of the article is to trace the main stages of the formation and features of hip-hop as a popular modern dance with emphasis on its role in modern choreography. The research methodology is based on a combination of a number of general scientific (analysis, synthesis, generalisation, among others) and special methods and approaches integrated from art history, history. The scientific novelty consists in drawing attention to the need to study such a type of modern dance as hip-hop. Conclusions. Hip-hop dance is part of the larger hip-hop culture and reflects the freedom to learn and express oneself through movement. This mixed street style of social dance combines acrobatic movements, gymnastics, and rhythm and includes other artistic manifestations (graffiti, rap, in particular). Unlike other types of dance, it does not have specific movements that need to be performed one after another, as well as complex choreography that needs to be memorised. One of its most striking features is improvisation, the main task of which is to respond to the rhythm of the music and allow it to capture the body. In general, hip-hop dance plays an essential role in the diversity and development of modern choreography, bringing its unique energy, style, self-expression, and socio-cultural depth. Elements of hip-hop that significantly influence modern choreography, enriching its content and context, include authenticity of urban culture, socio-cultural elements (street fashion, music, graffiti art), support of collective creativity, constant evolutionary dynamics. Hip-hop is constantly evolving, and its performers integrate new elements and styles, making it a diverse and dynamic form of choreography.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"26 21","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696551","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302103
Marta-Margareta Storonianska
The purpose of the work is to outline the peculiarities of transcribing the French lute tablature into modern notation and to develop recommendations for arrangements of lute music of the Baroque period for modern academic instruments, due to the growing interest of performers and listeners in the instrument itself and in expanding its semantic, stylistic, and interpretive possibilities. Research methodology. The problems associated with transcribing the French lute tablature into modern notation require a multidisciplinary approach that combines historical scholarship, practical performance experience, and theoretical knowledge. The main methods used in the article are historical, theoretical, and musical-textual. Scientific novelty. For the first time in Ukrainian musicology, the historical background and evolution of transcription of French lute tablature into modern notation are considered. The conditions of transcription of lute music are examined in detail according to the following parameters: the peculiarities of the structure of the lute of that time are first outlined; the issues of the structure – Renaissance vieil-ton and Baroque nouveau-ton – are considered; the peculiarities of deciphering rhythmic notation are analysed, highlighting the specifics of notation of different rhythmic durations, fingering for the right and left hands and the peculiarities of ornamentation, in particular apogiatura and achaccature. It is noted that all of the above notations are deciphered quite freely, based on the composer's intention and talent and the performer's skill. Conclusions. The present study outlines the concept of tablature, considers the issue of the structure of instruments for which musical works were recorded using the French tablature, and provides a brief description of rhythmic notation and ornamentation. When translating, it is important to rely on primary sources, musicological research, and performance practice. Summing up the observations made, it should be noted that the French lute tablature goes beyond notation in the modern sense (a way of writing notes) – it serves rather as a guide to interpretation, inviting the performer to the process of creating music, using the composer's "sketch".
{"title":"Features of transcribing French LUTE music into modern notation","authors":"Marta-Margareta Storonianska","doi":"10.32461/2226-3209.1.2024.302103","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302103","url":null,"abstract":"The purpose of the work is to outline the peculiarities of transcribing the French lute tablature into modern notation and to develop recommendations for arrangements of lute music of the Baroque period for modern academic instruments, due to the growing interest of performers and listeners in the instrument itself and in expanding its semantic, stylistic, and interpretive possibilities. Research methodology. The problems associated with transcribing the French lute tablature into modern notation require a multidisciplinary approach that combines historical scholarship, practical performance experience, and theoretical knowledge. The main methods used in the article are historical, theoretical, and musical-textual. Scientific novelty. For the first time in Ukrainian musicology, the historical background and evolution of transcription of French lute tablature into modern notation are considered. The conditions of transcription of lute music are examined in detail according to the following parameters: the peculiarities of the structure of the lute of that time are first outlined; the issues of the structure – Renaissance vieil-ton and Baroque nouveau-ton – are considered; the peculiarities of deciphering rhythmic notation are analysed, highlighting the specifics of notation of different rhythmic durations, fingering for the right and left hands and the peculiarities of ornamentation, in particular apogiatura and achaccature. It is noted that all of the above notations are deciphered quite freely, based on the composer's intention and talent and the performer's skill. Conclusions. The present study outlines the concept of tablature, considers the issue of the structure of instruments for which musical works were recorded using the French tablature, and provides a brief description of rhythmic notation and ornamentation. When translating, it is important to rely on primary sources, musicological research, and performance practice. Summing up the observations made, it should be noted that the French lute tablature goes beyond notation in the modern sense (a way of writing notes) – it serves rather as a guide to interpretation, inviting the performer to the process of creating music, using the composer's \"sketch\".\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"28 34","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140697094","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.302080
Olena Kapshukova
The purpose of the article is implementation into scientific use the proposed time limits and names of creative path`s periods of artist Mykola Hlushchenko (1901–1977). Based on analysis of well-known facts of his life and creativity, studies of artist`s artistic heritage from 1940s–1970s artworks collection of Dnipro Art Museum. The research methodology is based on the methods of art-stylistic and comparative analysis of Mykola Hlushchenko's paintings, considered in art-historical and cultural-historical aspects. The scientific novelty of research consists in scientific 1940s–1970s creativity periods determination of M. Hlushchenko based on research of Dnipro Art Museum collection and additional attribution of individual painting artworks according to the proposed stages. Conclusions. Based on the analysis of Mykola Hlushchenko's paintings from Dnipro Art Museum collection and study in accounting fund documentation of the institution, considering biographical and autobiographical information, socio-political and historical-cultural context, we proposed a refined periodisation of the artist's work. Division of creative stages of M. Hlushchenko for more detailed periods will allow a more thorough and deeper analysis of the well-known today artist's creative heritage. Using the example of Dnipro Art Museum collection, we concluded that a certain number of works in the museum collections of Ukraine require additional attribution. In addition, the creative heritage of outstanding Ukrainian artist Mykola Hlushchenko remains insufficiently studied and requires comprehensive research.
文章的目的是科学地使用艺术家米科拉-赫卢先科（Mykola Hlushchenko，1901-1977 年）创作道路时期的时限和名称。在分析其生平和创作的著名事实的基础上，对第聂伯罗艺术博物馆收藏的 1940-1970 年代艺术作品中的艺术家艺术遗产进行了研究。研究方法基于从艺术史和文化史角度对米科拉-赫卢先科的绘画作品进行艺术风格分析和比较分析的方法。研究的科学新颖性在于根据对第聂伯罗艺术博物馆藏品的研究，科学地确定了 M. Hlushchenko 在 1940-1970 年代的创作时期，并根据提议的阶段对个别绘画艺术作品进行了补充归属。结论。根据对第聂伯罗美术馆收藏的米科拉-赫卢先科绘画作品的分析和对该机构会计基金文件的研究，考虑到传记和自传信息、社会政治和历史文化背景，我们提出了艺术家作品的细化时期划分。将 M. Hlushchenko 的创作阶段划分为更详细的时期，可以更全面、更深入地分析这位当今著名艺术家的创作遗产。以第聂伯罗艺术博物馆的藏品为例，我们得出结论，乌克兰博物馆藏品中有一定数量的作品需要补充归属。此外，对乌克兰杰出艺术家 Mykola Hlushchenko 的创作遗产仍然研究不足，需要进行全面研究。
{"title":"Mykola Hlushchenko's paintings of 1940s–1970s from collection of Dnipro Art Museum: to the issue of periodisation and reattribution","authors":"Olena Kapshukova","doi":"10.32461/2226-3209.1.2024.302080","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.302080","url":null,"abstract":"The purpose of the article is implementation into scientific use the proposed time limits and names of creative path`s periods of artist Mykola Hlushchenko (1901–1977). Based on analysis of well-known facts of his life and creativity, studies of artist`s artistic heritage from 1940s–1970s artworks collection of Dnipro Art Museum. The research methodology is based on the methods of art-stylistic and comparative analysis of Mykola Hlushchenko's paintings, considered in art-historical and cultural-historical aspects. The scientific novelty of research consists in scientific 1940s–1970s creativity periods determination of M. Hlushchenko based on research of Dnipro Art Museum collection and additional attribution of individual painting artworks according to the proposed stages. Conclusions. Based on the analysis of Mykola Hlushchenko's paintings from Dnipro Art Museum collection and study in accounting fund documentation of the institution, considering biographical and autobiographical information, socio-political and historical-cultural context, we proposed a refined periodisation of the artist's work. Division of creative stages of M. Hlushchenko for more detailed periods will allow a more thorough and deeper analysis of the well-known today artist's creative heritage. Using the example of Dnipro Art Museum collection, we concluded that a certain number of works in the museum collections of Ukraine require additional attribution. In addition, the creative heritage of outstanding Ukrainian artist Mykola Hlushchenko remains insufficiently studied and requires comprehensive research.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"18 23","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140696453","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 : 2024-04-16DOI: 10.32461/2226-3209.1.2024.301962
Polina Gerchanivska
The purpose of the study is to understand the process of decolonisation in independent Ukraine as a socio-cultural phenomenon in the context of strategic problems of modern state policy. The research methodology is based on the fundamental principles of historical and cultural analysis. The methodological core of the study is a comparative analysis of the process of decolonisation at different stages of its development. The scientific novelty consists in the conceptualisation of the process of decolonisation in Ukraine. The immanent essence of the phenomenon of decolonisation and the algorithm of its development are revealed, and the periodisation of this process is introduced into scientific circulation. Conclusions. The phenomenon of decolonisation in the chronotype is analysed. Firstly, it was found that the absence of an effective strategy for decolonisation policy at the first stage of the process significantly hindered the consolidation of Ukrainian society and the formation of Ukrainian identity. Secondly, as a result of the unclear tactics of decolonisation, certain difficulties (organisational and economic) arose in the practical implementation of decommunisation laws. Thirdly, because of the hostilities in Ukraine, public attention is focused on the strategy and tactics for the protection of national monuments, World Heritage sites, and their territories in the event of a threat of destruction or damage.
{"title":"Decolonization of society: the Ukrainian turn","authors":"Polina Gerchanivska","doi":"10.32461/2226-3209.1.2024.301962","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2024.301962","url":null,"abstract":"The purpose of the study is to understand the process of decolonisation in independent Ukraine as a socio-cultural phenomenon in the context of strategic problems of modern state policy. The research methodology is based on the fundamental principles of historical and cultural analysis. The methodological core of the study is a comparative analysis of the process of decolonisation at different stages of its development. The scientific novelty consists in the conceptualisation of the process of decolonisation in Ukraine. The immanent essence of the phenomenon of decolonisation and the algorithm of its development are revealed, and the periodisation of this process is introduced into scientific circulation. Conclusions. The phenomenon of decolonisation in the chronotype is analysed. Firstly, it was found that the absence of an effective strategy for decolonisation policy at the first stage of the process significantly hindered the consolidation of Ukrainian society and the formation of Ukrainian identity. Secondly, as a result of the unclear tactics of decolonisation, certain difficulties (organisational and economic) arose in the practical implementation of decommunisation laws. Thirdly, because of the hostilities in Ukraine, public attention is focused on the strategy and tactics for the protection of national monuments, World Heritage sites, and their territories in the event of a threat of destruction or damage.\u0000 ","PeriodicalId":510501,"journal":{"name":"NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD","volume":"30 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-04-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140695686","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：