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The purpose of the work is to trace the genesis of the aria typology and its inherent expressiveness of aria singing in its pre- and non-opera existence, comparing relevant materials from the history of the genre in Europe and China. As a methodological basis, we put forward the intonation approach of B. Asafyev's school in Ukraine, as it developed in the works of O. Markova, O. Muravska, Liu Bing Jiang, with emphasis on hermeneutic and stylistic-comparative analysis. The scientific novelty of the study is caused by the historical novelty of emphasising symbolic and religious beginnings in culture and art, which was traditionally ignored in the classical for Europe period of New time, as well as by the fact that, for the first time in Ukrainian and Chinese musicology, about hymnographic and song-chant forming of syncretism are put in logical chain of receivership information, from which an aria was born in the 12th-13th centuries in China and the 15th-16th centuries in Europe, which was later absorbed into the opera at the level of an essential component of the composition. Conclusion. The culture of the aria as a finished expressive quality and arias as a type of singing developed into the spiritual activity in the diametrically opposed cultural formations of China and Europe. They are historically connected by their appearance only in them in the planetary scope of the operatic action by its singing saturation from the beginning to the end of the performance. For China, the concept of forming an aria from the ritual syncretism of a hymn-song-aria is proven. For the European thinking, the awareness of the aria as a derivative of the Byzantine hymnography and liturgical-canto song with vocality inseparable from it was the achievement of musicological developments of the last decades. The adoption of such a concept, developed in the presented work, significantly corrects the "generic emphasis" of the expressiveness of the aria, traditionally considered in the context of the specifics of the operatic action.
Key words: aria, genre in music, opera, song, chant, hymn.

Artikel ini akan membahas aspek etnopedagogis dan pendidikan kakarkter dalam cerita rakyat "Raden Aria Cikondang". Metode penelitian yang digunakan yaitu metode kualitatif deskriptif. Hasil penelitian membuktikan bahwa (1) Cerita rakyat "Raden Aria Cikondang"mengandung unsur etnopedagogi berupa catur diri insan, moral kemanusiaan, gapura pancawaluya, dan prilaku nyunda tri-silas. (2) Nilai pendidikan karakter yang terkandung dalam cerita berupa nilai religius, cinta tanah air, tanggung jawab, demokratis, menghargai prestasi, dan kreatif. (3) Cerita rakyat "Raden Aria Cikondang"dapat dimanfaatkan sebagai bahan, model, dan kegiatan pembelajaran cerita rakyat di kelas X SMK. (4) Tanggapan siswa terhadap bahan ajar komik digital cerita rakyat "Raden Aria Cikondang"pada aspek pembelajaran, bahasa, gambar, dan penyajian memperoleh hasil 94%. Dengan demikian bahan ajar tersebut termasuk kategori kriteria kelayakan sangat baik.Kata Kunci: cerita rakyat; etnopedagogi; pendidikan karakterABSTRACTThis article will discuss the ethnopedagogical and character education aspects of the folklore "Raden Aria Cikondang". The research method used is descriptive qualitative method. The results of the study prove that (1) The folktale "Raden Aria Cikondang" contains ethnopedagogical elements in the form of human self-chess, human morality, pancawaluya gate, and nyunda tri-silas behavior. (2) The value of character education contained in the story is in the form of religious values, love for the homeland, responsibility, democracy, respect for achievement, and creativity. (3) The folklore "Raden Aria Cikondang" can be used as materials, models, and folklore learning activities in class X SMK. (4) Students' responses to the teaching materials of the folklore digital comic "Raden Aria Cikondang" in the aspects of learning, language, images, and presentation obtained 94% results. Thus the teaching materials are included in the category of very good eligibility criteria.Keywords: folklore; ethnopedagogy; character building

Purpose of the Article. The main attention in the article is focused on the peculiarities of improvisation methods that were used in the third part and in the Cadenzas of aria da capo in baroque Italy. The characteristic features of vocal improvisation space in opera atr of Italian baroque have been explored and defined. In particular, the specificity of baroque ornamental improvisation in the aria's third part has been defined; the differences between baroque and renaissance improvisation have been clarified; the essence of the theory of affects (feelings, emotions) as an aesthetic and philosophical context of vocal art's existence in the baroque era has been defined; the peculiarities of an existing connection between the theory of effects and the main principles of the rhetoric of that time have been clarified; we have also found out how the rhetoric of the baroque era affected the disposition of Cadenzas in the context of musical structure's dramaturgy; the historical circumstances in which the genre discussed (that is, aria da capo) was formed have been described. Мethodology. We have used in our study as research tools the following methods: a comparative method (for comparing of improvisation stylistics of the renaissance and of the baroque era; of the Venice and Neapolitan operatic schools); a historical and stylistic method (for featuring of the historical context of the emergence and performing of arias da capo and of their Cadenzas and for characterizing of the essencial features of the epoch analyzed); an analytical and descriptive method (for the analysis of particular elements of improvisation in arias da capo, of the key principles of the theory of effects and their connection to baroque improvisation). Scientific novelty. The topic of the article is connected to the largely unexplored nowadays realm of music artists that, however, needs careful analysis and a systematic approach. The up-to-date research results in the sphere of vocal improvisation of the baroque era are presented and analyzed in the article. Conclusions. Improvisation in the space of aria da capo is a multidimentional, controversial, and ambiguous sphere of baroque vocal art. It cannot confine itself only by the sphere of performance but also deserves music scholars' regard.

Pangeran Aria Soeria Atmadja was a Sumedang's Regent figure who came from a royal family. When he became Sumedang's Regent in 1883-1919, he received a lot of prizes from Netherland Colonial Government. This research highlighted the question, "How was the Role of Pangeran Aria Suriaatmadja as a Sumedang's Regent in 1883-1919?". During his leadership, Pangeran Aria Soeria Atmadja issued various policies to the Sumedang's people, such as school development policy in the entire villages of Sumedang Regency, planting Palawija policy, the making of protected forest policy, themaking of upper-class bank and coaching for Sumedang civil servant dan its people. During 32 years of leadership, the prosperity of Sumedang's people increased and had lots of impacts. Nevertheless, it is interesting to conduct a deeper study of Pangeran Aria Soeria Atmadja's policies that brought prosperities to Sumedang's people. This study is expected become a reference for other researchers that will conduct a study about the Role of Pangeran Aria Soeria Atmadja when he became Sumedang Regent because there are lots of aspects that have not explored further by the researcher.

Recensione di Mauro Van Aken, Campati per aria, Milano, Elèuthera, 2020, pp. 272.