Suchergebnisse

The purpose of this work is to generalise the characteristics of the concepts of "voice philosophy" and "timbre-role" accepted in modern musicology, which indicate the non-artistic meaning of expressiveness of singing, which, together with the artistic and plot indicators, give capacity to its metaphorical essence. The methodological basis is culturalised musicology, as presented in the works of the heirs of B. Asafiev in Ukraine, namely in the works, except for the author of this essay, by D. Androsova, M. Davydov, I. Zinkiv, O. Kozarenko, O. Muravska, O. Roschenko, N. Syrotynska, the works of G. Adler, M. Grappler, R. Ingarden, in which the synthesis of musicological analysis and humanitarian and cultural comparative analysis is embedded in the awareness of the expressive self-importance of performing creativity. The scientific novelty lies in the fact that for the first time in a theoretical and logical exposition, the conceptual contents of the terms "timbre-role", "voice philosophy" are presented, which were introduced by the authors of the studies in the generalisation of musicological observations, summarising the understanding of the vivid performance-pedagogical discoveries of the dissertations completed under the supervision of by the author of this essay, O. Markova, and stated in this conceptual interpretation in the 2015 book, subsequently tested in research by representatives of the specified scientific school. Conclusions. The analysis of the stages of introduction and approbation of the accepted terms "timbre-role", "voice philosophy" shows that logically and chronologically the first of the named - "timbre-role" was the most basic, which proved to be valuable due to the generalisation of the cultural and symbolic beginnings of singing skills, moreover, in volumes of both European, genetically ecclesiastical, vocals, and singing-singing of the Chinese opera tradition. The observation of historical changes in the interpretation of male and female voices, the "absorption" by both of them of the primary syncretic masculinity of singing sound expression in general provides the foundations of the "philosophy of the voice", "speculative theory of singing" (compared with the concept of "speculative theory of music" in relation to the designation of musical aesthetics in the 19th century), in which the ideal-extraordinary beginning leads to a distinction with the speech intonation layer, which attests to the essential sound life.
Keywords: timbre-role, philosophy of voice, style in art, genre in music, vocal, singing.

The purpose of this work is to trace the natural character of those historical metaphysical similarities that are laid down by the repetition of social changes from century to century and evoke the corresponding artistic and stylistic analogies based on the religious and cultural tendencies of nations. The methodological basis is the intonation approach of B. Asafiev's school in Ukraine, comparative and hermeneutic prolongations of intonation in the works of D. Androsova, T. Verkina, O. Kozarenko, I. Kotliarevskyi, I. Liashenko, Liu Bintsyan, O. Markova, O. Muravska, O. Sokolova, with the use of scientific and research methods: art historical and analytical, descriptive and historical, cultural and regionalist, religious studies. The scientific novelty of the work is determined by the originality of the correlation of the layers of culture and art according to the logic of their epochal style and thought coincidence, including art historical parallels of ideological and state-building institutions, behavioural and ethical norms of the revolutionary strata of China and Italy in the 1840s and 1850s, the prevalence of stringed plucked instruments as a sign of Renaissance thinking in Europe and China, the capture of Rococo influences on the Cossack culture of Ukraine with a focus on woman's creative participation. Conclusions. The discovery of Renaissance cultural features in the nations of the East obliges us to recognise analogies with Europe, which is recorded in the parallel of the life-behavioural and cultural-artistic actions of the Italian Risorgimento ("Renaissance of Italy" as the realisation of a romantic utopia) and the Chinese Taipingyang (the construction of the "Heavenly City" utopia as the Renaissance of the greatness of ancient China). The article also introduces the assertion of the original Renaissance "two worlds" in the biconfessional Jagiellonian Poland, in which the component of Cossack Ukraine demonstrated a tangent to the majestic achievements of prosaloon aristocratic instrumentalism in the life of kobzars-bandura players and song-madrigal female creative expression.
Key words: metaphysics of history, renaissance, culture, musical culture, epochal style of thinking, musical style.

The object of the research was to consider the methods of protection of people's rights according to the administrative-procedural order and also in administrative judicial proceedings. A number of normative legal acts regulating the use of tools for the protection of subjective public rights were considered. Attention has been drawn to the following methods of protection of people's rights, according to the administrative-procedural order and in administrative judicial proceedings: administrative procedure; administrative mediation; administrative appeal; subjecting guilty public administration officials to special disciplinary liability; compensation for damage caused by unlawful actions (inaction) of public administration entities; means of self-defense and legal means of protest. The methodological basis of the research was presented as comparative-legal and systematic analysis, formal-legal method, method of interpretation, hermeneutic method, as well as methods of analysis and synthesis. It was concluded that in the scientific literature it is very often the case that protection methods are not used, but tools, means and forms. The authors also examine the methods of protection of rights, freedoms and interests of individuals in the sphere of public administration.