Suchergebnisse

In the present article the specific functions and major tasks of the regional theater for the young spectators are given, identified the problems associated with its activities in the concrete cultural epoch. The author analyzes the specific activities of the theater for the young spectators in the Eastern part of Ukraine, as well as, his own creative achievements among the staff. The most important is to determine the Regional Russian theater for the young spectators as a professional theater for children and youth. Taking into consideration this statement, it is necessary to educate young people and form their aesthetic concepts and ideas. The theater for the young spectators can influence, by its specific means, the relationship depth and appreciate the uniqueness of human beings, nature, culture and society. The current state of Ukrainian society is defined by quantitative and qualitative transformations that affect the cultural sector and its components. Among them is the field of a theater, where the social change is the most marked or not. Unfortunately, many Ukrainian theaters underwent many transformations during the period of "perestroika". While studying the phenomenon of the children's theater in Ukrainian culture it is important to determine the place and role of the national theater in the contemporary social and cultural progress of society with new social realities that significantly affect the creative and artistic production activity groups and to analyze the mutual influence and interdependence of cultural and social spheres. The state mast be interested in the activities of the theatrical institutions, expand their network, that includes the issue of theater in social and cultural programs that meet the purposes of the cultural policy. Today's reality makes it possible to conclude that the lack of assessment of public institutions of the theater, as a mean of education, leads to the lack of stimulation of the given area. It is significant that the existence of state taxation of the new productions and programs hampers the expansion of the theater repertoire. Similar problems exist at the regional level, because of the lack of support from the cultural institutions and institutions of regional administration, the local theater has to deal with solving different problems concerning: economic profitability, lack of dramatic material, lack of special training institutions, which slowdown its development, and cannot disclose the potential of the art directors and directors or the company of actors. The main problem with the Regional Russian theater for the young spectators in Donbass is that it functions in the regional cultural environment. And one more interesting fact – the theater has a bilingual repertoire. The Theater repertory policy gives attention both to the topical reading of Russian, Ukrainian and world classics, as well as, modern drama. The theatre uses different ways of engaging and educating its audience, including questionnaires, "The Spectator Board performance targets" for apprenticeship and students, different theater festivals. By means of the following activities in the analyzed region of Ukraine, which is characterized by the diversity of the population, ethnic and confessional groups the spectators must take into account these specific characteristics. The purpose of Donetsk Russian Theatre for the young spectators, which operates in Makeyevka, is the realization of public cultural programs in accordance with its principles and creating theatrical productions, organizing cultural events, preserve and enhance national, universal and cultural heritage. The main task of the educational theater is to create a humane and aesthetically correct perception of the world among the younger generation, based on the eternal values of faith, hope, love, attracting young people to the world of art and beauty. To solve this problem the theatre prefers to take the performances from the classics of the world literature and meet high cultural and aesthetic requirements and do not contradict the secular needs of the audience. Since 2007, the theater's management has chosen the way of updating and enriching the company of young actors, this helps to create the performances based on classical works for children and youth – "The Centerville Ghost" by O.Wilde, "The Red Chief" by O'Henry, "Romeo and Juliet" W. Shakespeare, "The Night before Christmas" by M. Gogol. In recent years, the theater has taken part in several international projects aimed at improving the actors' professional skills. In 2007, a group of young theater actors were invited by the Russia Union of the theatrical figures to take part in the number of master classes in Moscow. Thus we may say that the Regional Russian theater for the young spectators has to solve a number of problems in order to gain its main goals. The problems are: the lack of governmental funding for the development of the creative initiatives, as a result of this, financial difficulties, staffing issues related to the lack of professional training in the regional institutions; constant need to expand the range of activities, so as to involve a wide range of the dwellers of the region into dramatic art; overcome the total imposing of the other types of entertainment that a modern leisure market offers. This may be quite far from the arts and educational challenges that the theatre wants to face. In other words, popularization the theatrical art among the dwellers of the region. Operating in the region, the leaders of the Regional Theatre for the young spectators work in the following directions: they update the theater repertoire, accept the young artists, open the youth theater studio, monitor the viewers' interest in theater's performances, take part in festivals and international programs. ; В данной статье определены специфические функции и основные задачи регионального детского театра в современной Украине, обозначены проблемы, связанные с его деятельностью в определенной культурной эпо- хе, в частности материальные потребности театральных коллективов Украины в расширении своей художест- венной деятельности. Автор анализирует конкретные направления деятельности детского театра в восточном регионе, творческие достижения его коллектива, направления работы по ознакомлению детей и юношества с лучшими достижениями театрального искусства. ; У статті визначені специфічні функції та основні завдання регіонального дитячого театру в сучасній Україні, окреслено проблеми, пов'язані з його діяльністю в певній культурній епосі, зокрема матеріальні потреби театральних колективів України в розширенні своєї мистецької діяльності. Автор аналізує конкретні напрями діяльності дитячого театру в східноукраїнському регіоні, творчі досягнення його колективу, напрями роботи з ознайомлення дітей та юнацтва з кращими здобутками театрального мистецтва.

The national origins of musical artifacts (in the composership, as well as in performance) in many cases are the inherent implication that determines the particularities of the concepts, image systems, the composition and the structure of musical integrity, as well as the character of the special means selected by an artist to embody nuances of meaning.Each nation has a specific mentality, which embodies the facets and nuances of the conscious character and of the "collective unconscious" (Jung), expressed as a specific characteristics of the ethnic group in general: mental sets, worldview images, automatic actions, patterns of behavior, associations and others.Features of mentality are determined by the configuration of the ethnic dominants, by cognitive and emotional benchmarks, which include: geographical and climatic conditions, language, nuances of synesthesis, stereotypes of national character and behavior, national feeling of time and space, religious and contemplative world settings, historical and political factors, cultural traditions, rituals, etiquette, fashion and so on.It is difficult to study the mentality because of its integrity and the specific nature of the system. The initial element of this system is a combination of factors that form the specific relationships between themselves, while saving the factor of heredity. These relationships can be transformed, causing the inclusion (or exclusion) of certain elements in the system while maintaining the inherent shape of the overall configuration.Therefore, to identify the particularities of the national logic, we need to compare the integrity of the being of one nation with the same integrity of the other. When you create certain conditions and establish the contextual links, the etno-differentiative contextual factors may acquire the status of national mental determinants of musical creativity.For example, vocal orientation of Italian art is determined by:- features of the Italian speech (non-reduced vowels, clear articulation and the active work of the entire speech apparatus, the prevalence of open syllables, the alteration of vowels and consonants, the match between the intonation contour of the utterance and the original code of the articulation complex, a significant range of the speech sound, the permanent emphasis which provides the rhythm of the sound, the presence of numerous hiatuses, many double consonants which create the physiological precondition of the high palatal position, high speed speech which forms virtuosity in the process of performance and in the conditions of musical perception);- paralinguistic factors (active gestures and facial expressions);- specific climate (warm sunny climate determines muscular freedom, lack of pinches in the singing apparatus);- historical features of formation of bel canto school, the rich vocal tradition that existed in the Roman Church, and others.Musical mentality is also presented as a multi-level system of many elements of the musical text (from the tone, the single sound, to the dramatical and conceptual opus features or performing artifact), which, due to the subsign nature of musical speech (M. Bonfeld), can selectively "respond" to the manifestations of qualities (or properties) of the national mentality. Moreover, the etno-differentiative features of the musical mentality may be a more general phenomena: the tradition of music-making, the main genres, the factors of synesthesis, the dominant emotional and psychological characteristics of musical images and the tendencies of their implementation, etc. Thus, the term "etno-differentiative musical properties" denotes the subsigns of the musical language – the elements of musical text, the properties of musical expression, the nuances of the scenic behavior, musical traditions and trends which:1) while actualized at some moment in some context, acquire the status of the value;2) while perceiving and reflecting the specific etnomental context, represent the national musical mentality.To indicate the actual time of response, of the communication between the systems of "national mentality" and of "music mentality", at the point (or in the area) of intersection of their semantic fields, we offer the term "mental-semantic resonance." The phenomena of mental-semantic resonance can occur in any versions of combinations of the subsystems and their individual elements.We develop the concept of "representative type of art" proposed by J. Melchakova with introducing its' purely musical projections: 1) The representative genre: a genre of music that symbolizes features of the national music culture. For Spain, for example, the representative genres are flamenco and cante hondo. The musical and expressive specificity of these genres became the basis of hispanisms which embody the "Spanish dream" in other national cultures. 2) Representative type of music: the type of musical communication that is predominant for the national musical culture. For example, the representative type of music in Sweden is the choral singing.Representative national musical culture types (genres, types of music, etc.) are the basis of the etnomental music model, a kind of "emanation of mentality" (L. Gumilev) that stimulates the international interest in this phenomenon. We term the energetic and the charismatic phenomena the emanation of the mental field in music (passionate image of Spain, meditative image of the East, the charm of French chanson, etc.) that give rise to echoes and imitations in a foreign musical cultures.Therefore, in the article the author's theoretical concept of national mental determinants of musical creativity is proposed and its' nature is explored. Musical mentality is considered as an integral variable system in the light of its determinism of national mental factors. Within etnomental approach, the concept of "musical speech" (as a potential (composer's work) or topical (performing interpretation) expression) is interpreted as a way of displaying the nuances of national mentality in musical creative activities. ; В статье предложена авторская теоретическая концепция национально-ментальных детерминант музыкального творчества и раскрыта ее сущность. Музыкальная ментальность рассмотрена как целостная вариабельная система в ракурсе ее детерминированности национально-ментальными факторами. В рамках этноментального подхода понятие "музыкальная речь" (как потенциальное (композиторское творчество) или актуальное (исполнительская интерпретация) высказывание) трактуется как способ проявления нюансов национальной ментальности в музыкально-творческой деятельности. ; У статті запропоновано авторську теоретичну концепцію національно-ментальних детермінант музичної творчості та розкрито її сутність. Музична ментальність розглянута як цілісна варіабельна система у ракурсі її детермінованості національно-ментальними чинниками. У межах етноментального підходу поняття "музичне мовлення" (як потенціальне (композиторська творчість) або актуальне (виконавська інтерпретація) висловлення) потрактовано як спосіб прояву нюансів національної ментальності у музично-творчій діяльності.

The peculiarities of imagological discourse of Old Ukrainian thinker Hryhorii Skovoroda,connected with comprehension of the symbols of cult antique places (Athens, Rome, Carthage, Petra)are revealed in the article. The spiritual culture of Athens of the blossoming period of the polis isacknowledged to be the highest achievement of ancient Greek aesthetic-philosophical idea by him.H. Skovoroda proposes his meta-historical view of the conception of the decline of Athens as thecenter of ancient Greek culture. In his opinion the philosophers of the period of blossoming of thecity-state (firstly Socrates, Plato, Epicurus) were close to the comprehension of sacral mysteries of142 Науковий вісник Ізмаїльського державного гуманітарного університету. Серія «Філологічні науки». – Вип. 44.existence, as the matter of nature of human happiness and "soulful world" were in the center of theirspiritual pursuit, but modesty and moral scepticism of wise men in the period of the rise of Athensencouraged youth to master moral background of their doctrine in which the beginnings of the futureChristian ethics were seen. H. Skovoroda was sure that the decline of the polis happened as a resultof a withdrawal from the preaching of philosophy of self-knowledge proclaimed by Thales as themain postulate of wisdom, because of the appearance of numerous «philosophical monkeys» thatdidn't have anything in common with scholarship, but spoiled with the defilement of theirpseudoscience the Athenian youth, that began to aim at career and ranks most of all, having turnedsciences into the weapon of anger and superstition.The image of Rome is poeticized by H. Skovoroda as a center of Latin enlightenment. His ideaof the capital of legendary Italian empire is formed under the influence of the works of SidronioHosius («Ode»), Cicerone («About Old Age») and Plutarch («About Peace of Mind»), the extractsfrom which were partly translated by the Ukrainian artist.Rome is shown as a pie hole of human promiscuity and vices in the ode of Sidronio Hosiusinterpreted by the thinker. It was identified that it was the final part of the work «Episodium infunere Georgii Chamberlini» («The Scenes from the Life of the Dead Georgii Chamberlini»), beingwritten in the original with elegant Sapphic stanza, in Skovoroda's variation – with prose, but withthe division in corresponding verses, that brings it closer to free verse. The artistic space of theextract consists of two opposite in conceptual strain topoi – Bethlehem cave, where the teacher ofChristian church Iyeronim hid from the world and Rome as a symbol of noisy, carefree, luxuriouslife that existed in the imagination of a recluse. In the traditions of baroque dramatized imageryIyeronim is constantly suffering from ghostly scenes of Roman carnivals and ladies' dancing,banquets, not finding peace from prayers and remorse. If Sidronio Hosius aimed to give a reader theinstructive lessons of patience and willpower of the hero with the help of the description ofIyeronim's suffering, then for H. Skovoroda this artistic material was used to stress again theimportance of achieving peace inside one's heart through the belief that there is no sense to escapefrom the vanity of the world and be a recluse, if the temptation is the center of your mind.At the same time H. Skovoroda doesn't consider the image of Rome to be the embodiment ofpromiscuity and soullessness, and following Plutarch and Cicerone he calls cultural figures of thecapital of the empire «virtuous Romans». Obviously from Plutarch's essay «Marcus Cato» H.Skovoroda got to know about unbearable attitude of ancient Roman politician, speaker and writerMarcus Porcius Cato (Cato the Elder, 234 – 148 BC) to Carthage that was developed under theinfluence of the last working visit to Phoenician city-state. In the letter of 12 June, 1763H. Skovoroda presents to M. Kovalenskyi the story of Cato's obsessive appeal «Carthagodelenda»(«Carthage must be destroyed») in the Senate which was turned into a catch phrase later, that meantmetaphorically absolute necessity of overcoming enemies and obstacles. As we know from history,anyway Carthage was demolished to the ground as the center of anti-imperial ambitions of the entireMediterranean shortly after Cato's death. An encouraging attitude of the Ukrainian philosopher tothis instructive lesson is completely evident, moreover in the works of ancient authors the level ofspiritual life of Carthage of those times was assessed as the triumph of pagan culture in its worstdisplays – the cults of aggressive chthonic creatures, human sacrifice, promiscuity and unlawfulness.Thus, in Skovoroda's opinion military strength of ancient Rome contributed to the approval ofpositive values that were designed in the mind of the artist on the traditions of postantique oppositionof the Kingdom of Heaven and Kingdom of the Antichrist.If Carthage became the embodiment of barbarism in the imagological discourse, then anotherstrategically important colony of the Roman Empire – Petra, built amidst Arabian desert in the rockson the intersection of important trade routes, on the contrary, became a symbol of the church ofChristian faith founded by Apostle Petro. Even in antiquity in the works of Josephus Flavius andPliny the Elder, known by H. Skovoroda, Petra became a metaphor of blessed world, a symbol ofpromised land, a way to which is confusing and unsafe. H. Skovoroda withdraws a legendary imageof antique Petra not only as allegorical definition of grace, but also as a symbol of Christiansalvation (29 song «Garden…»), safe harbor, «kify» (stone), a stronghold of faith and peace of mind. ; Оперування Г.Сковородою сакральними топосами античної культури (Афіни, Рим,Карфаген, Петра, Троя, Адріатика) свідчить про глибокий рівень освіченості митця тавиявляє його культурні пріоритети. Троя як географічно невідома одиницяміфологізованої праісторії античної цивілізації сприймається крізь призму героїчногоепосу Гомера й Вергілія. Духовна культура Афін періоду розквіту поліса отрималанайвищої оцінки мислителя, який пов'язав причини занепаду міста-держави з відходом їївиразників від сповідування принципів чистоти й міри та вульгаризованому розумінню їхпослідовниками питання природи людського щастя й шляхів досягнення душевноїгармонії. Образ Риму в сприйнятті Г.Сковороди відповідає традиційним уявленням провелич та міць давньоримської столиці в контексті підтримки імперської політикиантичної держави, що жорстоко розправлялася з проявами незадоволення з бокуколонізованих країн, як-то видно з прикладу тотального руйнування Римом Карфагену.Г.Сковорода використовує уроки історії для ілюстрації власних зацікавлень, уподібнюючисебе до давньоримського політика Катона Старшого, який без втоми закликав сенатзруйнувати небезпечну для імперії столицю фінікійської держави. Образ Адріатики якстратегічний водний простір італійських земель отримав поетизованого звучання влатиномовному вірші філософа «Qiud mente velox…». Затока Адрія сталаметафоричним означенням життєвого виру в контексті ототожнення непередбаченихситуацій під час морських мандрів з їх виникненням в процесі будь-якого людськогожиття. Концептуальне навантаження назви давньоримської колонії Петри послугуваловикористанню Г.Сковородою її символіки не просто у значенні «обітованої землі»,розташованої у серці безводної пустелі, але й як метафори закладеної апостоломПетром церкви християнської віри, чому сприяла як етимологічна подібність назви містай імені святого подвижника, так і органічний зв'язок Петри з біблійною історією.

Тарас Шевченко — принципово новий тип письменника в українській літературі й новий тип особистості, громадянина в історії України. Патріотизм Шевченків — дієвий, а загальнолюдське поняття «свобода» Шевченко тлумачив згідно зі своїми людськими ідеалами гордості, мужності, непохитності, вихованими на головних засадах християнської етики й моралі. Тарас Шевченко першим сформулював у художній формі всі принципи й постулати представників українського націоналізму: волелюбність, всеосяжну народність, національну честь і гідність, палкий патріотизм, державницькі прагнення, глибинну християнську релігійність, віру у свій народ, у його світле прийдешнє, сподівання на власні сили, надзвичайну толерантність до інших народів та їх вірувань, солідарність з усіма поневоленими, антиімперську й антишовіністичну позицію, що беруть початки з демократичного, неімперського й нешовіністичного характеру української нації та її історичного досвіду. ; В истории Украины есть немало фигур, достойных всенародного уважения и любви. Т. Шевченко представлял собой не только принципиально новый тип писателя в украинской литературе, но и новый тип личности, гражданина в истории Украины. Патриотизм его — действенный, а общечеловеческое понятие «свобода» он толковал согласно своим человеческим идеалам гордости, мужества, стойкости, воспитанным на главных принципах христианской этики и морали. Поэт первым сформулировал в художественной форме все принципы и постулаты представителей украинского национализма: свободолюбие, всеобъемлющая народность, национальная честь и достоинство, пылкий патриотизм, государственные стремления, глубинная христианская религиозность, вера в свой народ, в его светлое будущее, надежды на собственные силы, чрезвычайная толерантность к другим народам и их верованиям, солидарность со всеми порабощенными, антиимперская и антишовинистическая позиция, что берут начало из демократического, неимперского и нешовинистического характера украинской нации и ее исторического опыта. ; There are many figures in the history of Ukraine, worthy of the holiness and love of the people, but Taras Shevchenko managed to excite and expose the fallen spirit of the Ukrainian nation to the realization of his own dignity at one time. Without the slightest exaggeration, he is — the greatness and glory of Ukraine, the holy martyr for her truth and will, for the revival of her statehood as a «free, new family». Consequently, at the present tragic and critical stage of the development of Ukrainian statehood, in conditions of bloody Russian aggression and dirty Kremlin propaganda, which by intrigue and treachery broke into our lives, the legacy of the Great Kobzar needs special attention, rethinking and perception without all those political, ideological and con «multinational layers, created for several decades by the Soviet literary critics, which, unfortunately, still possess the minds of our many compatriots. This, first of all, concerns the national-patriotic views of Taras Shevchenko, which were the most distorted, falsified. This applies to a concept such as Shevchenko's humanism. Taras Shevchenko was not only a fundamentally new type of writer in Ukrainian literature, but also a new type of personality, a citizen in the history of Ukraine. Shevchenko's patriotism is effective, since he paid for the most expensive — freedom, health, life. The universal concept of «freedom,» Shevchenko interpreted in accordance with his human ideals pride, courage, restraint and disobedience in the face of any despot, brought up on the basic principles of Christian ethics and morals. Therefore, for him, internal freedom — that is, freedom of thought, speech, feeling, conscience — is superior to external freedom, that is, life at will, especially if this life is associated with submissiveness, adaptability, dependence on this powerful world, on wealth, from everything that makes a person his slave. Being the spokesman for people's views on life and work, on the relationship between people, Kobzar constantly addresses both the topic of free work. These paintings of this willful will are a sharp contrast to the cruel reality in which the peasant is a disenfranchised slave («Dream» — «On the bark of wheat sting»). And the very intonations of the Faith, Hope, Love, the wisdom of the native land, the major tone are dominant in many poetry of the artist. However, we will find in the works of Taras Shevchenko and other notes: notes of silent sorrow, soft melancholy, lyricism. Indicative in this regard is the poem «Garden Cherry Kohl Hut». This poetry, like all the immense works of Taras Shevchenko, is immortal as it reveals the problems of the great philosophical theme — «the meaning of human existence on Earth», «human happiness», whose guarantor can be only freedom and justice as the norm of social existence. Thus, the national self-respect, the national idea, the purpose of liberation from autocratic Russian tyranny and the creation of a national Ukrainian state were crystallized. What are they? The national state-building idea in the development of Taras Shevchenko is represented, firstly, by the awareness of the intellectual elite of the future nation, based on its history; second, the definition of typical, persistent features of the spiritual culture (morality, religion, language, folk ethics, etc.), inherent in the people in the form of national traditions and customs; thirdly, comparing its national community with others, which has become important means of selfdetermination. Taras Shevchenko first formally formulated in the artistic form all the principles and postulates of Ukrainian nationalism: his freedom of freedom, a comprehensive nationality, national honor and dignity, passionate patriotism, state aspirations, profound Christian religiosity, faith in his people, his future light, hope for his own strength, extraordinary tolerance to other peoples and their beliefs, solidarity with all enslaved, anti-imperial and anti-chauvinist attitudes based on a democratic, non-imperial and non-chauvinistic character ukrain nation and its historical experience. Particularly, it should be emphasized that Shevchenko's nationalism, as nationalism of the Ukrainian people, is based on Love, and therefore he is essentially human and cordial to his own and others — to all who recognize the right of Ukrainians to free state existence. So, turning to the Poles (poem «Poles»), the poet calls them «friends», «brothers» and calls along with the Ukrainians in the name of Christ to renew our quiet paradise — Ukraine. In the views of Taras Shevchenko, the national idea is filled with universal meaning. His soul sounds like a pain for a man with a degenerate life. Every image of the poor and unlucky (from the burned orphans or the shroud to the spinned mother of Ukraine) always testifies to the blame imposed on the representatives of the authorities who incarnate evil in the social system in the imperial idea. Sin, punishment, wine, and redemption, suffering and purification are all through the moral categories of Shevchenko's poetics, which are also closely related to the moral categories of Christianity. We, grateful to the descendants, have discovered new and new faces for a long time, since, having appeared on light, he embraced all spiritual nature with the spirit of others and existed.

Розкрито суспільне, художнє, моральне значення щорічних Міжнародних Пасхальних асамблей, їх сутність і своєрідність, виражені в гаслі «Духовність єднає Україну», зокрема особливості ювілейної Х Асамблеї – 2018. Докладно розглянуто зміст її заходів – музичних діалогів; концертів, присвячених ювілеям видатних композиторів і виконавців; Першого конкурсу скрипалів імені Богодара Которовича; благодійної програми «Вірою, надією єдині»; охарактеризовано їх програми, творчий шлях колективів та окремих виконавців, які взяли участь у цих заходах. Х Міжнародна Пасхальна асамблея – 2018 «Духовність єднає Україну» справді стала грандіозним святом духовності та єднання українського суспільства. У цьому переконують творчі виступи, концерти не лише в концертних залах Києва, а й у Софії Київській, Михайлівському Золотоверхому Соборі, Успенському соборі Києво-Печерської Лаври, Патріаршому соборі Воскресіння Христового, у Храмі Василя Великого. У цих заходах виявилося прагнення людей жити в мирі і злагоді. Український політикум усе більше переконується в тому, що краще неспокійний мир, ніж жахи воєнного лихоліття. Це має стати нормою для України! Висока гуманістична ідея Пасхальних асамблей спрямована на утвердження стабільності, миру і благополуччя в нашій країні. ; Relevance of research. In the twenty-first century some profound socio-political, economic, and spiritual shifts have become the realities of life both in Ukraine and the world. They not only open up perspectives for the socio-cultural progress of mankind, but also create crises in all spheres of life. State activity in the field of spirituality as well as artistic and aesthetic integrity of Ukrainian society should be aimed at overcoming destructive processes of stagnation and instability, humanization of universal moral and spiritual values, revival of Ukrainian national culture. An important role in this is related to the annual International Easter Assembly "Spirituality unites Ukraine".The purpose of the research is to reveal the social, artistic, and moral significance of the annual International Easter Assemblies, their essence and peculiarity, expressed in the slogan "Spirituality unites Ukraine". Particularly it has been pointed out the properties of this event from the point of view of its jubilee Tenth Assembly-2018. The author has described in detail the content of its events, expressed by musical dialogues, concerts devoted to the anniversaries of prominent composers and performers. The first Bogodar Kotorovych Contest of violinists, the charity program "Unity in faith and hope" were characterized with a detailed description of the program, the creative path of the teams and individual performers who took part in these events.The methodology of the study provides an analytical review of the main activities that took place during the jubilee Tenth Assembly-2018. The scientific novelty of the study consists in the fact that it first characterized the performances of leading performing groups that took part in this international event. Their creative peculiarity has been revealed in connection with the embodiment of the author's design. The importance of musical dialogues introduced with the assistance of Embassies of foreign states accredited in Ukraine has been emphasized. This is a quite new form of international cultural cooperation, the purpose of which is the spiritual rapprochement of nations and nationalities, the popularization of the cultures of different peoples. During the Tenth International Easter Assembly in 2018, ten dialogues were held with the participation of performers from Italy, Hungary, the USA, Lithuania, France, Israel, Germany and other countries. There were creative performances, concerts not only in the concert halls of Kiev, but also in Saint Sophia Cathedral in Kyiv, St. Michael's Cathedral, the Assumption Cathedral of the Kyiv-Pechersk Lavra, the Patriarchal Cathedral of the Resurrection of Christ, at the Church of Basil the Great.The tradition of the Easter assemblies has become a honoring of prominent figures of musical culture. On April 17, 2018, a jubilee concert by Georgiy Agrathin "Musician-Magician" took place in the Great Hall of the Academy on his 70th anniversary with the participation of the National Orchestra of Folk Instruments of Ukraine (headed by V. Gutsal).The concluding Gala Concert of the winners of the 8th All-Ukrainian Television Children's Song Festival-Competition "Solovyenko of Ukraine" was the bright event of the Assembly. On 22nd April 2018, the First All-Ukrainian Bogodar Kotorovych Violinist Competition also has begun. The organizers of the contest are Petro Tchaikovsky National Music Academy of Ukraine with the support of the Ministry of Culture of Ukraine, the National Union of Composers of Ukraine, and the All-Ukrainian Foundation for International Communication "Ukrainian National Embassy", the National All-Ukrainian Music Union. The jury consists of well-known violinists from Ukraine, France, Poland, and Great Britain – students of the outstanding Maestro.The Grand Concert "Opera in the Academy" was dedicated to the 80th anniversary of the Opera Studio of the National Academy of Sciences of Ukraine. P. I. Tchaikovsky. This is a unique creative unit for the preparation of musicians of the world level. There is a spectator hall for 800 seats with a technically equipped stage, it has all the necessary theatrical workshops (decorative, lighting, sound, dressing room, engineering, costume, etc.), artistic, rehearsal and auxiliary premises. The artistic level of performances is provided by the constantly functioning choir, orchestra, ballet and mimic corpses; the production group – conductors, directors, artists, chormeisters, choreographers, concertmasters, who are outstanding persons of the musical theater. Academy educators and talented youth, winners of national and international artistic competitions and festivals constantly take part in all the productions and performances of the Opera Studio.The Opera Studio is not only an important academic unit of the Academy, but also a worldclass artistic center. On its scene there were many all-Ukrainian and international festivals and contests aimed at solving not only creative, artistic, but also social tasks, in particular to overcome confrontations and discord, spiritual impoverishment, depreciation of artistic heritage, national history. Among them there are international festivals "Vivat, Academia", "Italian Baroque in Ukraine", All-Ukrainian competitions of choral conductors and pianists of the firm "C. Bechstein", International Easter Assembly "Spirituality unites Ukraine".Findings and Conclusions. The Tenth International Easter Assembly-2018 "Spirituality unites Ukraine" has indeed become a grand holiday of spirituality and unity of Ukrainian society. It has revealed the desire of people to live in peace and harmony. ; Раскрыто общественное, художественное, моральное значение ежегодных Международных Пасхальных ассамблей, их сущность и своеобразие, выраженные в месседже «Духовность объединяет Украину», а также особенности юбилейной Х Ассамблеи-2018. Детально рассмотрено содержание её многообразных мероприятий – музыкальных диалогов, концертов, посвящённых юбилеям видающихся композиторов и исполнителей, Первого конкурса скрипачей имени Богодара Которовича, благотворительной программы «Верой, надеждой едины», охарактеризованы их программы, творческий путь коллективов и отдельных исполнителей, принявших участие в этих мероприятиях. Х Международная Пасхальная ассамблея-2018 «Духовность объединяет Украину» действительно стала грандиозным праздником духовности и единения украинского общества. В этом убеждают творческие выступления, концерты не только в концертных залах Киева, но и в Софии Киевской, Михайловском Золотоглавом Соборе, Успенском соборе Киево-Печерской Лавры, Патриаршем соборе Воскресения Христового, в Храме Василия Великого. В этих мероприятиях нашло своё выражение стремление людей жить в мире и согласии. Украинский политикум все больше убеждается в том, что лучше неспокойный мир, нежели ужасы войны. Это должно стать нормой для Украины! Высокая гуманистическая идея Пасхальных ассамблей направлена на утверждение стабильности, мира и благоденствия в нашей стране.

The present article considers the essence of concepts of "city", "capital", "capital of culture" on the basis of the factual scientific material. The author analyses European experience and modern lines of development of geographical zones in the conditions of globalization, identifies the place and role of culture in solving social problems, attraction of investments, support and development of a brand of a territory within the EU program "European capital of culture".Global phenomena within world tendencies of mankind development, such as urbanization, informatization, etc. and also the recognition of the leading role of culture in the development of geographical areas, have caused new prospects of territories development, creating new challenges for the governments.The above-mentioned processes have raised the urgency of cultural and creative potential of cities and caused the analysis, generalization and introduction of the European experience and modern lines of territories development.In the cultural sense, in any country there is center and periphery, the capital and the province. Such centers recently have started to hold the title of the capitals of culture around the world. The term cultural capital, or capital of culture, are very common, but the definition of this concept can not be found in any domestic or foreign encyclopedias.The author states that cultural capital is not just a territorial-administrative unit, as its peculiarity is determined by the cultural dominant. It is the center of cultural life of the state, which is qualitatively and quantitatively different from other cities and is notable for cultural content, features and value. The level of social and cultural development there is characterized by high progress of the leisure sector. The cultural capital not only has unlimited potential for leisure, inculturation of residents and guests of the city, but plays a leading role in the formation of a national brand, creating, supporting and developing of the country's image on the international arena.The European Capital of Culture programme was initially called theEuropeanCityof Culture and was conceived in 1983 by Melina Mercouri, then serving as Greek Minister of Culture. Mercouri believed that at the time, culture was not given the same attention as politics and economics and a project for promoting European cultures within the member states should be pursued. TheEuropeanCityof Culture programme was launched in the summer of 1985 withAthensbeing the first title-holder. In 1999 theEuropeanCityof Culture programme was renamed the European Capital of Culture.The European Capitals of Culture initiative is designed to: highlight the richness and diversity of cultures inEurope, celebrate the cultural features Europeans share, increase European citizens' sense of belonging to a common cultural area, foster the contribution of culture to the development of cities. In addition to this, experience has shown that the event is an excellent opportunity for regenerating cities, raising the international profile of cities, enhancing the image of cities in the eyes of their own inhabitants, breathing new life into a city's culture, boosting tourism.The European Capitals of Culture are selected on the basis of historical and cultural characteristics of their past and also on the basis of specific criteria relating to their present situation in Europe, such as their multilingual and/or multicultural environment, the high quality of cultural and/or economic standards, the presence of political and/or spiritual leaders, the power of the dominating discourse of the political leaders of their country, and more recently (since 1999, when the European Parliament and Council worked out a new selection procedure for the Capitals for the 2007-2019 period), the balance of the intergovernmental decisions reached in order to give to each EU member nation the opportunity to 'host' the cultural capital in turn. Certain cities receive the title of Cultural Capital of Europe for one year.The cultural programme shall fulfill the following criteria, subdivided into two categories, 'the European Dimension' and 'City and Citizens':1. As regards 'the European Dimension', the programme shall foster cooperation between cultural operators, artists and cities from the relevant Member States and other Member States in any cultural sector, highlight the richness of cultural diversity in Europe, bring the common aspects of European cultures to the fore.2. As regards 'City and Citizens' the programme shall foster the participation of the citizens living in the city and its surroundings and raise their interest as well as the interest of citizens from abroad, be sustainable and be an integral part of the long-term cultural and social development of the city.A new framework for the initiative, post 2019, has been adopted by the European Parliament and Council. It includes the chronological list of Member States that can host the title from 2020 until 2033. This new framework makes it possible for cities in candidate countries or potential candidate countries for EU membership to hold the title every third year as of 2021.Ukrainecan take part in 2024.According to the author the Cultural Capital of Europe which started as an idea, a vision, has developed into the most important European Cultural event and became an Institution.Ukraineis a country with great cultural potential, concentrated primarily in the city, which is the spiritual, cultural, historical, scientific-educational center. Taking into consideration the current trends in the development and branding area, the state should support the cultural sector as a priority, giving second breath to museums, galleries, exhibition halls, theatres and other cultural institutions, attracting the youth to the development of new promising projects, taking an active part regardingUkraine's entry into the European cultural space. Participation in the project will create an opportunity to strengthen the positions on the international arena, to attract foreign investments, initiating the development of a national brandUkraine, and also it will stimulate the development of the cultural sector. ; В статье на фактологическом научном материале рассмотрено суть понятий "город", "столица", "столица культуры". Осуществлен анализ европейского опыта и современных тенденций развития географических зон в условиях глобализации. Выявлены место и роль культуры в решении социальных проблем, привлечении инвестиций, поддержке и развитии бренда территории. Рассмотрено историческую ретроспективу детерминант эволюции современного культуротворческого тренда в развитии культуры города на примере программы ЕС "Европейская столица культуры". Выделены критерии предоставления статуса столицы культуры. Уделено внимание культурной политике Украины и ее возможному участию в программе. ; У статті на фактологічному науковому матеріалі вивчено сутність понять "місто", "столиця", "столиця культури". Здійснено аналіз європейського досвіду та сучасних тенденцій розвитку географічних зон в умовах глобалізації. Виявлено місце та роль культури у вирішенні соціальних проблем, залученні інвестицій, підтримці та розвитку бренду території. Розглянуто історичну ретроспективу детермінантів еволюції сучасного культуротворчого тренду в розвитку культури міста на прикладі програми ЄС "Європейська столиця культури". Виокремлено критерії надання статусу столиці культури. Приділено увагу культурній політиці України та її можливій участі у програмі.

This article reviews new aspects of the interplay between fashion and advertising, says that advertising messages through text-description shows image of the advertised product, with marking does not have to link with the signified. The basic expression fashion trends are in advertising.At XXI century advertising is always looking for new forms of expression, it involves in their communicative space of various art trends, cultural studies and public opinion. One of its main sources is a formative fashion.Transformed from a simple craft into a developed industry, fashion is becoming popular and constantly debated phenomenon. An increasing of its value and relevance to modern society, it sets the necessary impression creates the desired image for a particular person or goods. Fashion simultaneously combines the stability of tradition and innovative tricks, such as creativity and commercial benefits. We can state that thanked to advertising and marketing professional, more people follow fashion trends and become "fashion victims".Despite the fact that there are a large number of works on the history of fashion, art and outstanding designers create clothes, marketing in the fashion industry and "fashion philosophy", some questions still left unattended researchers, in particular the problem of interaction of advertising and fashion in terms of post and post-post-culturewhich, in our opinion, needs detailed study.First of all it is worth to mention the work of F. Kotler "Principles of Marketing", which theoretically grounded relationship marketing in the traditional sense of the term, with the global fashion industry. In the theoretical work of T. Hines and M. Bruce "Fashion Marketing" describes the basic techniques of marketing in contemporary fashion, given the statistics. In this work analyzes the activity of representatives of fashion secrets revealed professional artists. Another theoretical work that reveals the direct sphere of modern fashion is a "Fashion world" of French journalist M. Tunheym, which is an actual example of fashion masterpieces.Particular note is the work of French semiotics, the philosopher R. Barthes "fashion system" in which theoretical stresses that modern fashion is the opposition of three systems: "clothes-image (photo or drawing that have only limited symbolic), 2) Clothing-description (text, commenting that image) and 3) real clothing" [1, 9]. The first and third system, by R. Barth, mostly exhausted its denotative message transmission or manual visual image for practical action, while ьsystem-describing saturated clothing connotations; it is located "between things and words". We cannot agree with the theoretical relative that description connects fashion with the outside world, but at the same time and tendentiously distorting the world.A similar opinion was expressed by the modern Swedish researcher L. Svendsen in the "fashion philosophy". The author considers fashion as a phenomenon that, on the one hand, promotes the aesthetic of human life, on the other; affect the identity of the human population, backgrounds. French sociologist and philosopher J. Baudriyar continues the idea R. Barth, and draws attention to the social side of the phenomenon of fashion. For him, in the centres of interest are human simulacra-world signs that are manifested in various spheres of culture – art, fashion, media, technology, sexual relations and others.As noted in our advertising time, as the description text, shapes the fashion, it can transmit not only information about products and services, but also on public opinion in general or the political preferences of the masses. In modern fashion the rules permissible limits and canons of beauty disappear. It is filled with stylistic eclecticism, with all possible variations and combinations simulacra. The most common fashion borders on art, using the principal components of the artistic image – cognitive, regulatory and communicative. Combining data elements, it creates a new dialogue between the thing and its customer, which is dominated by the same thing.To better promote products, specialists in public relations, PR managers developed "special" story of collection that told what had fascinated the designer during creating this collection, inspired and motivated him. This myth has a certain character and it can be both too romantic and compassionate-dramatic. Always available a certain mystery in the message you are composing. Press releases (summary of concepts) often served with a touch of a charitable cause. In some cases, even a fashion filled with mystical meaning, appeal to the "sublime Gothic". This trend can be seen in the collections of local designers, for example, in the same collection Valerie Kovalska called "13".Thus, the hallmark of fashion is its pragmatic direction. The main income is presented as such especially for promotion of a product created by the so-called seasonal "must-have" objects of desire, trends, the hit lists of the month. A limited collection created an illusory uniqueness. Permanent imposing certain image cannot remain indifferent consumer and sooner or later he/she still remembered the advertised product. We introduce a special system of discounts and bonuses which are not always true, for example, the price of the thing to the "sale" and after remain unchanged.The use of a large number of different prints, dominated by vivid images, deep colors with complex graphics are popular. As a starting point "lucky number" are the first letter of proper names or "sacred mantras", which will certainly bring happiness and prosperity. Apply all known kitsch images:, ironic, romantic images of fairy tales (imagine myself Oriental Beauty); optical illusion that the buyer is transferred into the mysterious world of fantasy; surreal prints that are associated with S. Dali masterpieces; drawings and abstract floral patterns, graphic lines and geometric shapes, all of these things come to mind. Nothing can stop contemporary designers to bring their collections.Thus, we can state that the fashion continuously marked clothing and a world. Advertising creates fashion, it predicts the desired information about a product and imposes other people's opinions and preferences. Advertisingcombines the perception of reality and creates its reality by itself. The public mood is formed by the artificial icons. It sets the style which all people must wish. Even if in imitation of a designed image difficulties appear (such as lack of money or social status)but due to the advertising (description text)a consumer still wants to to become the owner of the advertised product. ; В статье рассматриваются современные аспекты взаимодействия моды и рекламы. Отмечается, что в рекламных сообщениях благодаря описанию-тексту эксплицируется образ рекламированного товара, при этом означающее не обязательно имеет связь с означаемым. Наводятся основные проявления модных тенденций в рекламе. ; У статті розглядаються сучасні аспекти взаємодії моди та реклами. Зазначається, що в рекламних повідомленнях завдяки опису-тексту експліціюється образ рекламованого товару, при цьому позначаюче не обов'язково має зв'язок з означуваним. Наводяться основні прояви модних тенденцій у рекламі.

Relevance of the study. The field of musical performance, as probably the most sensitive to the relevance of ancient art, over the last century it communicates more and more closely with the antiquity of music. "Musical archeology" personalized in art critics and performers-historians actively studies the world's musical heritage, revives on the modern stage authentic sounds in all the richness of their expression, variety of styles and forms. It is also important and justified to study the integral components of succeeding in the creation and execution of certain works, the recognition of creative personalities. It is hardly possible to find a better example in this direction than the musical theater of mature Baroque and gallant Rococo. But even in the then opera "industry" success (in the sense of mastering impeccable professional and artistic qualities, achieving a high level of demand, professional reputation, status, material well-being) was determined by a set of characteristics, among which integration into the historical context, social and political relations did not play the last role. Therefore, today it is necessary to apply a comprehensive approach to study the experience of highly professional, talented, active, and passionate artists of the late 17 — first third of the 18 century, to apply the tools hermeneutic analyze for reading their creative heritage. Main objective(s) — to reveal the historical context in which work by J. A. Hasse was created, to comprehensively consider the musical and poetic texts of the serenata "Mark'Antonio and Cleopatra" for the successful implementation of its performing reconstruction and stage production in the approach of modern Historical informed performance.Methodology based on an interdisciplinary approach at the intersection of musicology, theater studies, and historical science, using the cultural-historical method, the method of hermeneutic analysis of the text and the method of historical reconstruction, which allows us to consider the process of creating a musical-dramatic work in the unity of the subject, functional and historical aspects, expanded by in-depth analysis historical and political context.Results/findings and Conclusions. An important component of successful creativity in the field of musical theater and, more broadly, the success of works of art — the response of the audience, the ability of a piece of art to evoke empathy, a sense of belonging, and personal involvement — has been investigated. Bearing in mind the exemplary historical experience of the development and spread of Italian opera, the art of the first third of the 18 cent. was chosen as the area of study of these issues. As an example, considered one of the first works of I. A. Hasse — the serenate "Mark Antonio and Cleopatra", written and presented by him in Naples, in 1725.The musical form of the serenata is analyzed, the stylistic and genre features of its elements, which determine the musical language of the young Saxon composer, are characterized. The libretto text is considered using the tools of hermeneutic content analysis.The historical and political aspect of the life of the Kingdom of Naples in the late 17th — early 18 centuries is researched. Based on archival materials, information about the customer of the work by Carlo Carmignano and the librettist Francesco Ricciardo have been clarified. An attempt was made to the historical reconstruction of the circumstances of the composition, the details of the stage design of the performance, assumptions were made about the personalities of the audience present. The hidden content layer of a musical and dramatic work, born of its connection with the history of everyday life, cultural and political context, is discovered. The effectiveness of using the semantic potential of plots from the life of historical personalities is emphasized, their main property is revealed — the ability to allegorical personifications, symbolic artistic "gestures", disguised similarities ; Актуальность исследования. Музыкальное исполнительство как искусство, наиболее чувствительное к вопросам релевантности произведений прошлого, последние сто лет все плотнее коммуницирует со старинной музыкой. «Музыкальная археология» в лице искусствоведов и исполнителей-истористов активно изучает мировое музыкальное наследие, возрождает на современной сцене аутентичные звучания во всем их богатстве, разнообразии стилей и форм.Важным и оправданным является также изучение неотъемлемых составляющих успешности в создании и исполнении определенных сочинений, признании творческих личностей. В этом направлении вряд ли возможно найти лучший пример, чем музыкальный театр зрелого Барокко и галантного Рококо. Но даже в тогдашней оперной «индустрии» успех (в значении овладения безупречными профессиональными и артистическими качествами, достижения высокого уровня востребованности, профессиональной репутации, статуса, материального благосостояния) определялся комплексом характеристик, среди которых интегрированность в исторический контекст, общественные и политические отношения играли отнюдь не последнюю роль. Следовательно, сегодня следует использовать комплексный подход в изучении опыта высокопрофессиональных, талантливых, увлеченных своим делом художников конца XVII — первой трети XVIII века, применить инструменты герменевтического анализа для максимально полного прочтения их творческого наследия.Цель статьи — раскрыть исторический контекст, в котором создавалась серената «Марк Антонио и Клеопатра» И. А. Хассе, всесторонне рассмотреть музыкальный и поэтический текст произведения для успешной реализации его исполнительской реконструкции и сценической постановки в русле современного исторически информированного исполнительства.Методология исследования основана на междисциплинарном подходе на пересечении музыковедения, театроведения и исторической науки, с применением культурноисторического метода, метода герменевтического анализа текста и метода исторической реконструкции, что позволяет рассмотреть процесс создания музыкально-драматического произведения в единстве предметного, функционального и исторического аспектов, расширенного углубленным анализом историко-политического контекста.Основные результаты и выводы исследования. Исследована важная составляющая успешного творчества в сфере музыкального театра и, шире, успешности произведений искусства — отклик аудитории, способность художественного произведения вызвать сопереживание, ощущение причастности, персональной ангажированности. Памятуя об образцовом историческом опыте развития и распространения итальянской оперы, областью изучения указанных вопросов избрано искусство первой трети XVIII века. В качестве примера рассмотрено одно из первых сочинений И. А. Хассе — серената «Марк Антонио и Клеопатра», представленная им в Неаполе в 1725 году.Проанализирована музыкальная форма серенаты, охарактеризованы стилевые и жанровые черты её элементов, определяющие музыкальный язык молодого саксонского композитора. Текст либретто осмыслен с помощью инструментов герменевтического анализа содержания.Рассмотрен историко-политический аспект жизни Неаполитанского королевства в конце XVII — начале XVIII века. На базе архивных материалов уточнены сведения о заказчике произведения Карло Карминьяно и либреттисте Франческо Риччардо. Предпринята попытка исторической реконструкции обстоятельств сочинения, подробностей сценического оформления спектакля, высказаны предположения о персоналиях присутствовавших слушателей. Выявлен скрытый содержательный слой музыкально-драматического произведения, рожденный его связью с историей повседневности, культурным и политическим контекстом. Подчеркнута эффективность использования смыслового потенциала сюжетов из жизни исторических личностей, выявлено их главное свойство — способность к аллегорическим олицетворениям, символическим художественным «жестам», замаскированным уподоблениям. ; Розглянуто важливу складову успішної творчості у сфері музичного театру і, в широкому плані, успішності творів мистецтва — наявність відгуку аудиторії, здатність художнього твору викликати співпереживання, відчуття причетності, персональної ангажованості. Зважаючи на показовий історичний досвід розвитку та поширення італійської опери, полем для вивчення шляхів до позитивного сприйняття та затребуваності творчості в жанрах музичного театру обрано мистецтво першої третини XVIII століття. Як приклад розглянуто один із перших творів Й. А. Хассе — серенату «Марк Антоніо і Клеопатра», презентовану 1725 року в Неаполі. Проаналізовано побудову серенати, охарактеризовано її стильові та жанрові риси, що визначають музичну мову молодого саксонського композитора. Здійснено спробу історичної реконструкції обставин написання твору та подробиць сценічного оформлення вистави, зроблено припущення щодо ймовірного складу її слухачів. Текст лібрето осмислено з точки зору прихованого змістового потенціалу сюжетів із життя історичних особистостей; виявлено його головну властивість — здатність до алегоричних уособлень, символічних художніх «жестів», замаскованих уподібнень. Висвітлено історико-політичний аспект життя Неаполітанського королівства в кінці XVII — на початку XVIII століття. На базі архівних матеріалів уточнено відомості про замовника твору Карло Карміньяно (Аквавіва) та лібретиста Франческо Річчардо. Запропоновано версію подій, під впливом яких було написано серенату «Марк Антоніо і Клеопатра». Підкреслено, що успішність в сфері музичнодраматичної творчості спирається на ширші засади, ніж індивідуальні якості талантів композиторів, лібретистів, співаків, їхньої майстерності та самобутності.

Relevance of the study. The field of musical performance, as probably the most sensitive to the relevance of ancient art, over the last century it communicates more and more closely with the antiquity of music. "Musical archeology" personalized in art critics and performers-historians actively studies the world's musical heritage, revives on the modern stage authentic sounds in all the richness of their expression, variety of styles and forms. It is also important and justified to study the integral components of succeeding in the creation and execution of certain works, the recognition of creative personalities. It is hardly possible to find a better example in this direction than the musical theater of mature Baroque and gallant Rococo. But even in the then opera "industry" success (in the sense of mastering impeccable professional and artistic qualities, achieving a high level of demand, professional reputation, status, material well-being) was determined by a set of characteristics, among which integration into the historical context, social and political relations did not play the last role. Therefore, today it is necessary to apply a comprehensive approach to study the experience of highly professional, talented, active, and passionate artists of the late 17 — first third of the 18 century, to apply the tools hermeneutic analyze for reading their creative heritage. Main objective(s) — to reveal the historical context in which work by J. A. Hasse was created, to comprehensively consider the musical and poetic texts of the serenata "Mark'Antonio and Cleopatra" for the successful implementation of its performing reconstruction and stage production in the approach of modern Historical informed performance.Methodology based on an interdisciplinary approach at the intersection of musicology, theater studies, and historical science, using the cultural-historical method, the method of hermeneutic analysis of the text and the method of historical reconstruction, which allows us to consider the process of creating a musical-dramatic work in the unity of the subject, functional and historical aspects, expanded by in-depth analysis historical and political context.Results/findings and Conclusions. An important component of successful creativity in the field of musical theater and, more broadly, the success of works of art — the response of the audience, the ability of a piece of art to evoke empathy, a sense of belonging, and personal involvement — has been investigated. Bearing in mind the exemplary historical experience of the development and spread of Italian opera, the art of the first third of the 18 cent. was chosen as the area of study of these issues. As an example, considered one of the first works of I. A. Hasse — the serenate "Mark Antonio and Cleopatra", written and presented by him in Naples, in 1725.The musical form of the serenata is analyzed, the stylistic and genre features of its elements, which determine the musical language of the young Saxon composer, are characterized. The libretto text is considered using the tools of hermeneutic content analysis.The historical and political aspect of the life of the Kingdom of Naples in the late 17th — early 18 centuries is researched. Based on archival materials, information about the customer of the work by Carlo Carmignano and the librettist Francesco Ricciardo have been clarified. An attempt was made to the historical reconstruction of the circumstances of the composition, the details of the stage design of the performance, assumptions were made about the personalities of the audience present. The hidden content layer of a musical and dramatic work, born of its connection with the history of everyday life, cultural and political context, is discovered. The effectiveness of using the semantic potential of plots from the life of historical personalities is emphasized, their main property is revealed — the ability to allegorical personifications, symbolic artistic "gestures", disguised similarities ; Актуальность исследования. Музыкальное исполнительство как искусство, наиболее чувствительное к вопросам релевантности произведений прошлого, последние сто лет все плотнее коммуницирует со старинной музыкой. «Музыкальная археология» в лице искусствоведов и исполнителей-истористов активно изучает мировое музыкальное наследие, возрождает на современной сцене аутентичные звучания во всем их богатстве, разнообразии стилей и форм.Важным и оправданным является также изучение неотъемлемых составляющих успешности в создании и исполнении определенных сочинений, признании творческих личностей. В этом направлении вряд ли возможно найти лучший пример, чем музыкальный театр зрелого Барокко и галантного Рококо. Но даже в тогдашней оперной «индустрии» успех (в значении овладения безупречными профессиональными и артистическими качествами, достижения высокого уровня востребованности, профессиональной репутации, статуса, материального благосостояния) определялся комплексом характеристик, среди которых интегрированность в исторический контекст, общественные и политические отношения играли отнюдь не последнюю роль. Следовательно, сегодня следует использовать комплексный подход в изучении опыта высокопрофессиональных, талантливых, увлеченных своим делом художников конца XVII — первой трети XVIII века, применить инструменты герменевтического анализа для максимально полного прочтения их творческого наследия.Цель статьи — раскрыть исторический контекст, в котором создавалась серената «Марк Антонио и Клеопатра» И. А. Хассе, всесторонне рассмотреть музыкальный и поэтический текст произведения для успешной реализации его исполнительской реконструкции и сценической постановки в русле современного исторически информированного исполнительства.Методология исследования основана на междисциплинарном подходе на пересечении музыковедения, театроведения и исторической науки, с применением культурноисторического метода, метода герменевтического анализа текста и метода исторической реконструкции, что позволяет рассмотреть процесс создания музыкально-драматического произведения в единстве предметного, функционального и исторического аспектов, расширенного углубленным анализом историко-политического контекста.Основные результаты и выводы исследования. Исследована важная составляющая успешного творчества в сфере музыкального театра и, шире, успешности произведений искусства — отклик аудитории, способность художественного произведения вызвать сопереживание, ощущение причастности, персональной ангажированности. Памятуя об образцовом историческом опыте развития и распространения итальянской оперы, областью изучения указанных вопросов избрано искусство первой трети XVIII века. В качестве примера рассмотрено одно из первых сочинений И. А. Хассе — серената «Марк Антонио и Клеопатра», представленная им в Неаполе в 1725 году.Проанализирована музыкальная форма серенаты, охарактеризованы стилевые и жанровые черты её элементов, определяющие музыкальный язык молодого саксонского композитора. Текст либретто осмыслен с помощью инструментов герменевтического анализа содержания.Рассмотрен историко-политический аспект жизни Неаполитанского королевства в конце XVII — начале XVIII века. На базе архивных материалов уточнены сведения о заказчике произведения Карло Карминьяно и либреттисте Франческо Риччардо. Предпринята попытка исторической реконструкции обстоятельств сочинения, подробностей сценического оформления спектакля, высказаны предположения о персоналиях присутствовавших слушателей. Выявлен скрытый содержательный слой музыкально-драматического произведения, рожденный его связью с историей повседневности, культурным и политическим контекстом. Подчеркнута эффективность использования смыслового потенциала сюжетов из жизни исторических личностей, выявлено их главное свойство — способность к аллегорическим олицетворениям, символическим художественным «жестам», замаскированным уподоблениям. ; Розглянуто важливу складову успішної творчості у сфері музичного театру і, в широкому плані, успішності творів мистецтва — наявність відгуку аудиторії, здатність художнього твору викликати співпереживання, відчуття причетності, персональної ангажованості. Зважаючи на показовий історичний досвід розвитку та поширення італійської опери, полем для вивчення шляхів до позитивного сприйняття та затребуваності творчості в жанрах музичного театру обрано мистецтво першої третини XVIII століття. Як приклад розглянуто один із перших творів Й. А. Хассе — серенату «Марк Антоніо і Клеопатра», презентовану 1725 року в Неаполі. Проаналізовано побудову серенати, охарактеризовано її стильові та жанрові риси, що визначають музичну мову молодого саксонського композитора. Здійснено спробу історичної реконструкції обставин написання твору та подробиць сценічного оформлення вистави, зроблено припущення щодо ймовірного складу її слухачів. Текст лібрето осмислено з точки зору прихованого змістового потенціалу сюжетів із життя історичних особистостей; виявлено його головну властивість — здатність до алегоричних уособлень, символічних художніх «жестів», замаскованих уподібнень. Висвітлено історико-політичний аспект життя Неаполітанського королівства в кінці XVII — на початку XVIII століття. На базі архівних матеріалів уточнено відомості про замовника твору Карло Карміньяно (Аквавіва) та лібретиста Франческо Річчардо. Запропоновано версію подій, під впливом яких було написано серенату «Марк Антоніо і Клеопатра». Підкреслено, що успішність в сфері музичнодраматичної творчості спирається на ширші засади, ніж індивідуальні якості талантів композиторів, лібретистів, співаків, їхньої майстерності та самобутності.

У статті вивчається роль соціокультурних чинників у формуванні музичних преференцій студентської молоді у сучасному суспільстві, з-поміж яких обрано наступні: тип суспільства, зміни в полях економіки, політики, культури, техніка, студентська молодь, музична парадигма. Виявлено зв'язок між певним типом суспільства та формуванням музичних преференцій, опосередкований відповідними умовами та можливостями, згідно з яким у тоталітарному суспільстві формувались офіційно-державні, або формальні музичні преференції студентів, нав'язані та рекомендовані «зверху», натомість у демократичному суспільстві на основі індивідуально обраних траєкторій формувались плюралістичні, або мозаїчні, фрагментарні, музичні преференції студентів. Охарактеризовано значення соціальних змін, відповідно до яких зрушення у полі економіки, наприклад у контексті нової економічної політики, непу, привели до послаблення контролю за практиками споживання музичного мистецтва та створили можливості вибору нерекомендованих до споживання зразків джазової музики. Виявлено зміну музичної парадигми в умовах «перебудови», як одного з наслідків суспільних зрушень у полі культури, в контексті якої зникнення «старого» музичного жанру, радянської масової пісні, та поява нових музичних форм у полях української популярної та масової культури визначили й конфігурації музичних преференцій. Охарактеризовано зміну суспільної ролі студентської молоді, яка стала активним суб'єктом, спроможним не лише засвоювати зразки та норми культури, але й створювати цінності молодіжної субкультури. Проаналізовано зв'язок між формуванням музичних преференцій та технікою, використання ресурсів якої розширило можливості формування музичних преференцій та способи задоволення потреб і запитів студентської молоді. Розглянуто результати емпіричних соціологічних досліджень музичних преференцій та чинників, що вплинули на їх формування та зміни, які виявили переваги сучасних студентів щодо користування новітніми інформаційно-комунікаційними технологіями та значне зменшення застосування традиційних технічних засобів із метою слухання музики. Крім того, музичні преференції практик взаємодій із улюбленими виконавцями та музичними групами показали різницю між вибором реального спілкування в ситуаціях концертної комунікації щодо опитаних студентів столичних вузів та віртуальним спілкуванням у межах Інтернет - практик опитаних студентів вузів обласного центру Східного регіону України, що пояснюється впливом чинника типу поселення, широкими можливостями доступу до культурних благ в умовах навчання у вузах столиці. ; The impact of social and cultural factors on the musical preferences of students in Ukraine has been analysed in the article. The following factors have been selected: the type of society and social change in the polical fields of economy, culture, technology, students, musical paradigm. The urgency of the analysis of the genesis, development and change of musical preferences of students has been proven, the necessity to study the influence of sociocultural factors on the formation of musical preferences in modern society has been grounded. This allowed characterising the musical preferences as a socio-cultural phenomenon that present signs and society, and culture of the society. It has been found that the development of technology, such as the invention and use of the gramophone, phonograph, cinema, radio, television, and later a tape recorder, computer, Internet, mobile communications and the latest gadgets, has enhanced the formation of musical preferences.It has contributed meeting the needs and inquiries of students, which are studying musical art, the use of individual trajectories of formation of formal and informal musical preferences. Formal preferences are associated with the activities of social institutions and social organizations. In this context, the musical preferences and those recommended "from above" have been considered to be two different ways of formation of musical preferences in a totalitarian society. The variety of musical preferences has been determined. State-formed musical preferences have been identified and characterized by a second method of forming a musical preferences, which is based on the perception of diversity and is not approved by the musical culture of the individually selected samples, "from below" groups, which are defined as individual and personal, or informal, musical preferences. The musical preferences of students, related to situations of social changes that have occurred in the spheres of economy, politics, culture, have been analyzed. For example, during transformational years, musical preferences differed greatly due to the transitional nature of the necessity to choose between the old musical genres and intonations, and the new, which were not formed. As a result of the change of musical paradigm, the "withering away" genre of Soviet mass song disappeared and variety of Ukrainian song genres was created. The change in the role of students in the post-war period has been described. Students were the object of influence and became an active subject, which not only mastered the values and cultural patterns, but also became the founder of the youth culture and youth subcultures. Finally, the formation of the musical preferences of students in a transitional society has been described, which were characterized by the diversification of opportunities, first of all, by the access to information and communication technologies aimed at different musical forms, styles, genres. Such musical preferences have been defined as "pluralistic" or "mosaic, fragmentary". As a result, the following conclusions have been formulated, which presented the results of sociological-historical changes of students' musical preferences studies, caused by socio-cultural factors. The configuration of musical preferences in different types of societies has been shown. The results of empirical sociological studies of musical preferences have been presented. Factors that influenced their formation and changes have been described. The advantages of the use new information and communication technologies by modern students have been grounded and a significant decrease in the use of traditional technical means for the purpose of listening to music has been based. In addition, musical preferences practics and interactions with favorite artists and bands have shown the difference between the choice of real concert communication situations and virtual communication within the Internet. These practics allowed university students from different regions, such as Central and Eastern region, to broad access to cultural occasions during their education in high schools of the capital. ; В статье изучается влияние социокультурных факторов на формирование музыкальных преференций студенческой молодежи в современном обществе, среди которых выбраны следующие: тип общества, изменения в полях экономики, политики, культуры, техника, студенческая молодежь, музыкальная парадигма. Выявлена связь между определенным типом общества и формированием музыкальных преференций, опосредованная соответствующими условиями и возможностями, согласно которым в тоталитарном обществе формировались официально- государственные или формальные, музыкальные преференции студентов, навязанные и рекомендованные «сверху», а в демократическом обществе на основе индивидуально выбранных траекторий формировались плюралистические или мозаичные, фрагментарные, музыкальные преференции студентов. Охарактеризовано значение социальных изменений, согласно которым сдвиги в поле экономики, например в контексте новой экономической политики, нэпа, привели к ослаблению контроля за практиками потребления музыкального искусства и создали возможности выбора нерекомендованных к употреблению образцов джазовой музыки. Выявлено изменение музыкальной парадигмы в условиях «перестройки», как одного из последствий общественных сдвигов в поле культуры, в контексте которой исчезновения «старого» музыкального жанра, советской массовой песни и появление новых музыкальных форм в полях украинской популярной и массовой культуры определили и конфигурации музыкальных преференций. Охарактеризовано изменение общественной роли студенческой молодежи, которая стала активным субъектом, способным не только усваивать образцы и нормы культуры, но и создавать ценности молодежной субкультуры. Проанализирована взаимосвязь между формированием музыкальных преференций и техникой, использование ресурсов которой расширило возможности формирования музыкальных преференций и способы удовлетворения потребностей и запросов студенческой молодежи. Рассмотрены результаты эмпирических социологических исследований музыкальных преференций и факторов, повлиявших на их формирование и изменения, которые обнаружили преимущества современных студентов по использованию новейших информационно-коммуникационных технологий и значительное уменьшение применения традиционных технических средств с целью прослушивания музыки. Кроме того, музыкальные преференции практик взаимодействия с любимыми исполнителями и музыкальными группами показали разницу между выбором реального общения в ситуации концертной коммуникации по отношению к опрошенным студентам столичных вузов и виртуальным общением в рамках Интернет-практик респондентов вузов областного центра Восточного региона Украины, что объясняется влиянием фактора типа поселения, широкими возможнстями доступа к культурным благам в условиях обучения в вузах столицы.