Suchergebnisse

The purpose of the study is to substantiate the methodological principle of researching realism painting on the example of analysing a painting by the Ukrainian artist Yurii Kamyshnyi. The research methodology combines a set of general theoretical (analysis and systematisation of material, theoretical generalisation and the method of deduction) and special scientific methods (terminological, method of analogies, art historical analysis, iconographic method). The scientific novelty of the study convinces of the possibility and advantages of applying an interdisciplinary approach to reveal the specifics of realistic painting. The dependence of the analysis of the prerequisites for the emergence and reasons for the realisation of realism in each artistic epoch, the conditions of its development in the classical and post-classical socio-cultural paradigm is substantiated. The content of the concept of "realism" is revealed through the prism of humanitarian knowledge, in particular, history, philosophy, cultural studies, ethnography, art history, psychology, sociology, which allowed strengthening the analysis of works performed in the realistic manner of realism. Conclusions. Based on the analysis of a number of definitions of the synonymous terms "interdisciplinarity" and "interdisciplinary approach" available in the Ukrainian scientific discourse, interdisciplinarity as an integrative approach to the analysis of works of art with interconnections with other areas of humanitarian knowledge, borrowings and the use of tools (schemes, models, categories, concepts) is substantiated. Analysing the specifics of realistic painting on the example of the work of the Ukrainian artist Yurii Kamyshnyi's "Sun Caresses", the application of the historical and systematic method (as a correspondence to the political, social, cultural, and artistic conditions of development) is shown. The iconographic method and art historical analysis allowed us to substantiate the combination of landscape (rural landscape) and domestic genres. The style of the painting is in the manner of nineteenth-century realism, which is characterised by the depiction of the elegance of summer rural life with the personification of the day (noon). The image of the tree leaves, which seem to be "tired" of the scorching sun, was important here. The sun is also represented with flickering rays on a neatly whitewashed house wall. The iconographic method made it possible to describe the subject of the work as the exterior of a typical Ukrainian rural dwelling and yard. The method of generalisation allowed us to present its dominance in the work of the realist artist. The cross-cultural method was used to compare the plot specifics of the painting with the plot motifs of foreign realist artists. The method of ethnographic observation allowed us to verify the typicality of the image of a hut for the rural Ukrainian countryside.

The purpose of the article is to analyse the productions of the 21st century musical and theatrical works of the 19th – 20th centuries in the aspect of postmodernism and baroque. The methodology of the work includes scientific methods (source studies, historical, generalising) and methods of comparative analysis to reveal the specifics of postmodern performances. The scientific novelty of the work lies in the fact that sources in foreign languages have been introduced into scientific circulation, and an analysis of musical and theatrical works has been carried out. Conclusions. It is noted that at all times the opera remains a musical-dramatic performance with a synthesis of arts that affect human feelings and immerse in audiovisual art. Postmodern music and theatre creativity, as well as baroque art, are aimed at evoking affects (states of mind) through various influences. In postmodernism, this is already the systemic influence of singing, dancing, modern technologies with the immersion of the audience in the action and plot complications, which also contribute to the transmission of various affective states. In the Baroque era, the composer was not considered an original genius, and their creativity and works were not untouched. The performer was allowed to interpret the written text. Postmodern period plays are characterised by: changing the libretto (E. Humperdinck's "Hansel and Gretel" ("Jeníček a Mařenka", 1890, 2015); A. Dvořák's "The Devil and Káča" ("Čert a Káča", 1899, 2016); "A soldier and a dancer". According to the functional sphere and the city of performance, parts of the work could be omitted or replaced. Actually, what we observe today, in the art of postmodernism is a reinterpretation of the heroes and their functions (Hansel and Gretel are not just poor children, but circus students, where the father is a director). Features of domestic comedy, fairy tale – in baroque opera were complemented by masks and tragic events. In post-modern performances, masks are replaced by puppets, for example, in the operas of B. Martin "The Soldier and the Dancer", E. Humperdinck "Hansel and Gretel", A. Dvořák "The Devil and the Duck". A parallel with the French baroque opera-ballet in the works of postmodernism is the strengthening of the role of dance in opera performances ("The Devil and Kacha", ballet with singing by B. Martin "Spalicek"). Plots with real and fairy-tale-fantasy characters, which are similar to the "myth" ("Hansel and Gretel", "The Devil and the Duck"). The external spectacularity and scale in Baroque works resonate with the specific stage design: inn, hell, palace ("Devil and Kacha"); animation of the middle of the 20th century – Disney pictures ("Hansel and Gretel"); the image of the Soldier – the world of dreams – childhood with dolls – a machine with dolls ("The Soldier and the Dancer").
Keywords: postmodernism, logos of music history, baroque, baroque opera, opera, ballet, opera-ballet, music and theatre art, elements of puppet theatre, stage design, libretto.

The purpose of the study is to analyse the scientific literature to update the problems associated with the study of the symbolism of flowers and its interpretations. The methodology of the work is based on comparative historical and comparative typological methods, which make it possible to establish the complexity and ramifications of the problem of colour symbolism; The cognitive approach made it possible to identify the dependence of the use of interpretive capabilities of colour symbolism on the formation of the emotional component for the disclosure of contents and associations. The scientific novelty of the work lies in the addition of scientific literature with new studies of colour symbolism. Conclusions. Based on the study of scientific literature, it is possible to determine the relevance of problems associated with the symbolism of flowers and its specificity. Acquaintance with the works of scientists (P. Zholtovsky, A. Kondratyuk, A. Lopukhina, L. Milyaev, F. Umantsev) made it possible to determine the directions of research of the monument and the lack of works on the symbolism of flowers in the painting of the temple. The scientific works of V. Ovsiychuk and M. Pastoureau became the basis of the theory and history of the study of flowers. The timeliness of the research is confirmed by the developments of foreign institutions and scholars, in particular, the problem of: colour psychology (H. Brem); colour theory (M. Oswald, Weingarten University of Education, German Colour Centre, University of Halle-Wittenberg); global visual communication by colour (T. Fassati). During the heyday of Baroque art, the masters of the Lavra art school used the symbolism of flowers in a new way in the ensemble of paintings of the Trinity Gate Church. Mysticism prevails in the picturesque palette of the church.
Keywords: cultural codes, colour, symbolism, interpretation, interior, painting, monumental painting, Trinity Gate Church.

The purpose of the article is to study scientific research on the history of Bedřich Smetana's opera "The Bartered Bride". The methodology of the work includes: source study – for the study of scientific literature and periodicals on the history of B. Smetana's opera "The Bartered Bride"; historical – to consider the opera at different times; generalising – for updating and specifying the basic information about the specified opera. The scientific novelty of the work lies in the fact that the analysis of foreign scientific sources and periodicals on the subject of this opera was conducted for the first time. Conclusions. The relevance of the study of scientific literature and periodicals on the opera by the Czech composer Bedřich Smetana is determined: the importance of Czech culture and musical art in Ukraine (V. Shchepakin, Yu. Zinko, S. Kalytko, A. Kravchuk, I. Pop); clarification of the authorship of the Ukrainian translation of the libretto of B. Smetana's opera "The Bartered Bride" and parallels with M. Lysenko's opera "Natalka Poltavka" (O. Smolnytska); criticism of the choreographic component in the opera from an archival source (T. Churpita). Coverage of the fate of the opera at different times: the popularity and inexhaustible source of Czech folklore (G. Palla, S. Bergmannova); emphasising the patriotism and progressiveness of B. Smetana's work in comparison with other Czech composers (Z. Nějedla); the influence of F. Liszt and P. Cornelius on the idea of a national comic opera; the flourishing of national ideas and the activities of the C. H. Mahá circle, the reflection of ideas in the libretto of K. Sabina and its relevance to the Czech language (D. Tyrrell); criticism of the premiere performances (Josef Krejčí). Comparison of the comicism of W. A. Mozart's opera "The Marriage of Figaro" and B. Smetana's "The Bartered Bride" (G. Schenker) with an emphasis on heterogeneity, organic joy, simplicity, and charming naivety in the transfmission of content can be considered an open path to future popularity. The critic's remarks about the organic thematic development and orchestral perfection in Smetana's opera were available only to Mozart. Criticism of the contemporary opera performance directed by E. Nellis "The Bartered Bride" (G. Shpalkova).
Key words: musicology, logos of music history, criticism, comic opera, national opera, folk art, Bedřich Smetana's opera "The Bartered Bride", libretto.

The purpose of the article is to reveal artistic images in "The Little Prince" ballet performance by Radu Poklitar with music by V. A. Mozart and Ukrainian lullabies performed by Maria Pylypchak. The methodology of the work is based on cultural analysis with elements of musicological analysis. The performed analysis provides familiarity with the ballet performance, the production of which took place on the theatre stage. Based on the synthesis of the obtained research results, the regularities of stage development in the interaction of choreography, music, and visualisation were established. The method of generalisation helped to record the sequence of formation of ballet images, disclosure of events in dialogue with music and visual series. The scientific novelty of the work lies in the fact that the analysis of the said ballet by Radu Poklitaru has been conducted. The interaction of choreography, music, and visual series in the embodiment of the philosophical fairy tale by Antoine Saint-Exupéry is revealed. The text of the article can be used when preparing a lecture on teaching music-theoretical and music-historical disciplines. Conclusions. Based on the analysis of "The Little Prince" ballet performance, the musical characteristics of the Little Prince, Rose, Snake and other actors were revealed by Radu Poklitaru. The stage unity of choreography, music, and visual series helped embody artistic images in the music-theatre genre. Choreography (elements of classics, free movements, imagery in movements) is supported by musical emotion and visualisation. The visual series significantly influenced the transmission of the philosophy and content of the literary source. The dramaturgy of the ballet is subordinated to the plot development. The musical basis of ballet became the basis for the realisation of artistic images in ballet: Mozart's works (Symphony No. 1, Fantasia in D minor, Piano Concerto with Orchestra No. 23, Part 2) and Ukrainian lullabies.
Key words: embodiment of the classics, literary source, piano music, symphony, fantasy, artistic image, Radu Poklitaru's "The Little Prince" ballet, Wolfgang Amadeus Mozart, Ukrainian lullabies.

The purpose of the article is to study the specific role of the embroided towel (rushnyk) as a key element of women's wedding clothing in the context of its cultural code; outlining the concept of cultural code in terms of decorative art and people's worldview; to determine the role of the embroidered towel (rushnyk) in women's wedding costume. The methodology of the study is based on the principle of historicism, systematicity and author's objectivity. General scientific methods of analysis, analogies, modeling, and systemic analysis have also been used. Scientific novelty. The article reveals for the first time the specifics of the embroidered towel (rushnyk) as an element of cultural code of women's wedding clothing of the Ukrainian people. The role of the embroided towel (rushnyk) in a traditional costume of a bride is outlined as one of its key elements having a protective meaning, considering its use as personification of a belt. The reasons for such rituals are explained. Conclusions. By analysing particular items of decorative and applied arts (embroided towels, costume elements), as well as a set of rituals and examples of oral folk arts related to the topic of the study, it has been proved that the embroidered towel (rushnyk) in wedding rituals of the Ukrainian people plays an important role precisely in terms of using it as an element of cultural code of the bride's clothing. A number of examples reveal the ways of tying it to a bride and a groom, as well as other participants of the ceremony. For this purpose, wedding pictures and illustrations depicting brides and grooms in traditional festive costumes were used. They included, in particular, illustrations of wedding clothing of young people from Kherson county of Kherson province, costumes of newly married couples from Novhorod-Siverskyi county of Chernihiv province, a picture of a wedding in the village of Borovykove, Cherkasy region (mid‑20th century).
Key words: cultural code, embroidered towel (rushnyk), traditional costume of a bride, women's clothing, belt, ornament, Ukrainian traditional costume, traditions.

The purpose of the article is to summarize the issues of modern musical creativity with an emphasis on cultural codes. The methodology of the work is based on the use of scientific research methods, which are dominated by analytics, observation, comparative analysis in accordance and interpretation using a literary source; methods of analysis and synthesis in the selection of culture codes in literary, musical, musical and theatrical interpretation. The scientific novelty of the work lies in the fact that for the first time an analysis of culture codes was made in the musical directed by Andrey Bilous, composer Usein Bekirov "The Overcoat"; ballet Maurice Bejart, composer Hugo Le Bar "The Overcoat"; ballet Radu Poklitaru, composer Olexander Rodin "Wii". Conclusions. Based on the theory, the history of scientific research, culture codes are presented as well-known information in literary titles, their author, their style, genres, and means of musical expression. The musical and ballet genres are self-sufficient and are programmed for creative production, the transmission of information, and its preservation under different interpretations. The musical and the ballet "The Overcoat" have a common and different embodiment of the author's literary source. In the musical by A. Belous – U. Bekirov, the ballet by Maurice Bejart - Hugo Le Bar, the ballet "Viy" by R. Poklitaru – O.Rodin, the main events of the author's story are preserved, but conditionally and under the influence of genre features. The music of the works has a stylistic plurality, the composers turn to different intonation-rhythmic layers, but with all the changes, taking into account genre features, the codes of culture remained recognizable.
Key words: culture code, interpretation, musical creativity, musical and theatrical genre, musical, ballet.

The purpose of the article is to study the interpretational possibilities of Dante's code in artistic samples of various types of art. Methodology. Methods of observation, modeling, comparison, analysis, and synthesis were used in the methodology of the work. The scientific novelty of the work lies in the fact that the analysis of interpretations of Dante's code on the example of fine art, computer games, cartoons, musical arrangement in a ballet performance is carried out. Conclusions. Dante's code is a kind of cultural code that contains common information. The observation method was applied to fix the perception of works of art in order to study Dante's code. Modeling and comparison methods allowed us to determine the features of Dante's code in different genres and types of art. In the history of the visual arts, Dante's code is interpreted both in the works of artists and becomes a creative process with a generalized content of D. Alighieri's works, but with the exact use of the code name (S. Dali). Comparing the use of Dante's code in computer games, cartoons, we state that in the visual arts and modern video series, Dante's code is reproduced in accordance with the content of D. Alighieri's works. In the history of music, in the musical design of a ballet performance, Dante's code is reproduced in a generalized form, where the reference to the name and title of D. Alighieri's works dominates. In the libretto of the Kyiv ballet of the same name, Dante's code is embodied in two appeals: to a love story and fragmentarily and generally to the work "The Divine Comedy". The musical series of the ballet "Dante" is not directly related to Dante's code, but there are attempts by the authors to find allusions, reminiscences in the music of composers (A. Dvořák, R. Wagner, Ezio Bosso).
Keywords: Dante's code, interpretation, ballet, fine arts, musical arrangement of a ballet performance, computer game, cartoon.

The purpose of the article is to substantiate the advisability of using distance courses in the process of improving the qualifications of teachers of art education institutions. The methodology of the work is based on the use of methods of analysis and synthesis. The analysis of the problems of the quality of knowledge in distance courses made it possible to turn to different forms of education. On the basis of synthesizing the obtained research results, the laws of knowledge improvement are established. The method of concretization reconstructed the versatility of connections in the personality – process – education system. The method of generalization made it possible to fix the expediency of using distance courses in order to improve the qualifications of teachers of art education institutions. The scientific novelty of the work lies in the fact that the author's distance course "Methods of teaching musical disciplines" has been analyzed and introduced into the educational process of the National Academy of Leading Cadres of Culture and Arts, the Center for Continuous Art Education. The text of the article can be used in the preparation of a lecture on the methods of teaching musical disciplines. Conclusions. Based on the analysis of work with the distance course "Methods of teaching musical disciplines", the possibilities and expediency of its use in refresher courses for teachers of art education institutions are revealed. Working with DK has advantages in improving the professional skills of teachers, allows you to save time as much as possible and receive a creative incentive for practical use in teaching, to identify new aspects of creative approaches in the art of music. The absolutely new selected material of the DK enriches the teaching experience (with a repertoire in performance, theoretical studios for musical-theoretical and musical-historical disciplines), including people of different age groups. The distribution of lectures, practical and independent tasks has a positive effect on the final learning outcome.

The purpose of the article is to summarize information about the study of artistic practices of contemporary art in the aspect of psychological concepts of study. The methodology of the work is based on the use of general scientific research methods. A comparative analysis is applied to conceptualize the provisions of psychology for the analysis of works of contemporary art. The scientific novelty of the work lies in the introduction of conceptual provisions from psychoanalytic research to the analysis of works of musical, visual, choreographic art of the late XX - XXI centuries. Conclusions. The concepts of psychologists (K. G. Jung, R. Atkinson and R. Shiffrin, D. Anderson and G. Bauer, L. Brooks, A. Paivio, J. Santa, P. Vollen, S. Lauri and M. Weber) reveal the mechanisms of perception of modern art. Characterization of mnemonic processes of memory with such operations: orientation in the semantic structure of the material, dismemberment and grouping of semantic elements, establishing links between the structural units of the text, recoding verbal information into figurative, consolidating the material, memorization in general, and in parts occur in creative processes and processes of perception of the majority cultural codes. The use of concepts (quotation, allusion, reminiscence, contamination) to the analysis of works of contemporary art is confirmed by the results of research by psychologists on the perception of cited visual, auditory, verbal information, which evokes allusions or reminiscences to previously known material, but now with new connotations on the example of works by Yu. Gomelskaya, A. Zhivotkov, A. Kozarenko, R. Poklitaru, A. Rodin, E. Stankovich.

У сучасному мистецтвознавстві все частіше спостерігаються процеси диференціації та науково-термінологічної інтеграції. Монографія Оксани Фрайт безпосередньо пов'язана із глобальним еволюціонізмом гуманітаристики, де музично-вербальна емінентність розкривається через взаємозв'язки й взаємовплив музики й слова у програмних фортепіанних композиціях, вокальному мистецтві, «музичній» прозі. Аналізуючи специфіку музичної програмності, у монографії особливої уваги заслуговує музична номеносфера, музично-вербальна емінентність (термін Г.-Ґ. Ґадамера) – кроскультурне взаємовивищення та взаємопрезентування музики і слова, музичного мистецтва і літератури.
Спираючись на концепцію відомого американського літературознавця Стівена Пола Шера, запропоновано авторський принцип емінентних зв'язків музики й слова у різних вимірах: від традиційного (програмова музика, вокальна музика), крізь менше вивчені («музична» проза, музична критика й публіцистика письменників), до невивчених раніше (белетристика музикантів, музичних ідіом у статтях про образотворче мистецтво, проекція музичних заголовків літературних творів на їхній художній зміст).
Зразки програмової української фортепіанної музики отримали оригінальне визначення з лексемою «музична номеносфера літературних заголовків». На основі порівняльного аналізу поезій С. Чарнецького та П. Карманського з тотожними музичними заголовками запроваджено нові термінологічні диференціації музичного екфразису у літературній творчості.
Музично-вербальна емінентність презентована з наскрізними творчими «конструктами». Універсальним принципом, звичайно, представлено мімезис. Ментально-художня основа музично-вербальної емінентності визначена національним пісенним фольклором. Антиципаційна дуальність музично-вербальної емінентності ґрунтовно підкріплена музично-критичними письменницькими спробами й літературно-публіцистичними надбаннями митців, які свій творчий досвід перенесли у музичні заголовки, що, в свою чергу, виокремило номеносферу як особливий індикатор вербальної «музикалізації».
Така послідовність спрямовує реципієнтів (слухачів, виконавців, читачів і дослідників) до герменевтики музично-вербальної емінентності. Хоча емінентні тексти завжди володіють певним авторитетом, їхній смисловий потенціал
довершений, вони є зразками, до яких постійно звертаються. Тому у монографії представлені музично-літературні зразки відомих митців І. Франка, О. Олеся, М. Лисенка, С. Людкевича, А. Кос-Анатольського, Н. Нижанківського.
Вищесказане зумовлює актуальність теми представленої для рецензування монографії О. В. Фрайт «Музично-вербальна емінентність: виміри та парадигми» [1]. Об'єктом свого дослідження О. В. Фрайт визначає експліцитні та імпліцитні прояви музично-вербальних діалогів у просторі української культури. Відповідно, мета монографії сформульована автором на рівні спроби долучитися до «дискурсивної поліфонічності», спирається на музикознавчі й суміжні естетико-філософські, культурологічні, мистецтвознавчі, літературознавчі, мовознавчі наукові джерела для доведення емінентних результатів взаємодії музики й слова в кількох органічних сполученнях-вимірах. [1, 9].
Визначена О. В. Фрайт мета дослідження зумовлює структуру монографії, що складається з п'яти розділів, які послідовно розкривають сутність музично-вербальної емінентності на зразках фортепіанної і вокальної музики українських композиторів, української «музичної» прози, музичній критиці й публіцистиці українських митців.
У першому розділі монографії О. В. Фрайт актуалізується науково-джерельна база з проблем програмної музики в аспекті мистецтвознавчого дискурсу. Другий розділ монографії О. В. Фрайт зосереджений на виявленні музично-вербальної емінентності в українській вокальній музиці, де симбіоз музики й поезії знаходить оригінальне втілення в творчості І. Франка, О. Олеся та А. Кос-Анатольського, Н. Нижанківського, М. Лисенка, С. Людкевича.
Емінентний вимір української «музичної» прози розкривається у третьому розділі монографії, підкріплюючись зразками малої прози Д. Віконської, В. Домонтовича, У. Кравченко. Парадигми музично-вербальної емінентності характерні й для музичної критики й публіцистики, що ґрунтовно презентовано у четвертому розділі монографії. Особливу увагу привертає звернення авторки до емінентності музичної номеносфери на матеріалі літературної творчості С. Чарнецького у п'ятому розділі монографії.
Сказане визначає практичну цінність рецензованої монографії О. В. Фрайт «Музично-вербальна емінентність: виміри та парадигми», задану органікою входження її матеріалів до курсів теорії та історії культури, музичної культурології, історії мистецтва у вищій ланці музичної, культурологічної та мистецької освіти України.