The practice and composition of music require patronage and institutional support, and they require it in a different fashion from that found in other forms of art. This collection of essays brings together the most recent and important contributions by leading scholars in the field to this crucial aspect of Renaissance musical culture. The articles approach the topic from a number of perspectives and consider the institutions and individuals engaged in supporting music; the systems of employment, benefices and sponsorship put in place to facilitate the support; and where, how and why music was sung and played. Taken together, these articles enable conclusions to be drawn about the interests of patrons and about the social and artistic status of musicians and composers within the courtly and urban context. - Publisher
Yeung, Hiu Yan Dorcas. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. ; Includes bibliographical references (leaves 166-173). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgements --- p.iv ; Table of Contents --- p.v ; Tables and Figures --- p.vii ; Chapter Chapter 1. --- Introduction ; Chapter 1.1. --- Background --- p.1 ; Chapter 1.2. --- Objectives and research questions --- p.8 ; Chapter 1.3. --- Significance --- p.11 ; Chapter 1.4. --- Chapters overview --- p.12 ; Chapter Chapter 2. --- The Scene of Classical Music and Cultural Policy in Hong Kong ; Chapter 2.1. --- Defining classical music and beyond --- p.16 ; Chapter 2.2. --- Development of orchestras and classical music in Hong Kong --- p.17 ; Chapter 2.3. --- Models of cultural policy and policy in Hong Kong --- p.21 ; Chapter 2.4. --- Supporting arts groups --- p.29 ; Chapter 2.5. --- Current funding policy --- p.31 ; Chapter Chapter 3. --- Literature Review ; Chapter 3.1. --- Introduction --- p.38 ; Chapter 3.2. --- Theorizing state and arts - the field of cultural production --- p.38 ; Chapter 3.3. --- Arts administration --- p.47 ; Chapter 3.4. --- Amateur --- p.51 ; Chapter 3.5. --- "Chapter summary: Amateur arts group, administration and the field" --- p.58 ; Chapter Chapter 4. --- Methodology ; Chapter 4.1. --- In-depth interviews --- p.60 ; Chapter 4.2. --- Documentation --- p.63 ; Chapter 4.3. --- Limitations --- p.63 ; Chapter Chapter 5. --- Being (and Surviving as) an Amateur: Case Studies of Music Groups ; Chapter 5.1. --- Introduction --- p.65 ; Chapter 5.2. --- Estimating number of amateur music groups --- p.65 ; Chapter 5.3. --- The spectrum from professional to hobbyist --- p.67 ; Chapter 5.4. --- The need for resources --- p.76 ; Chapter 5.5. --- From beliefs to action --- p.89 ; Chapter 5.6. --- Models of operation --- p.96 ; Chapter 5.7. --- Chapter summary --- p.105 ; Chapter Chapter 6. --- Between What We Want and How They Do: Matching with the Administrative Habitus ; Chapter 6.1. --- Introduction ...
Автори досліджують історію ідіоми "абсолютна музика" й обґрунтовують її актуальність для істориків філософії, показуючи, що саме така позафілософська апропріація філософських категорій конституює предмет інтелектуальної історії. Виявлено, що "абсолютна музика" не є автентичним терміном музичної культури ХІХ століття, а є вдалим винаходом нової музичної герменевтики, що дозволяє означити як історичний період у становленні музичного мистецтва, так і парадигму понять, що характеризують автономність музичного буття. На думку авторів, предметом історико-філософського дослідження вислову "абсолютна музика" має постати перетворення філософського терміна в одиницю дискурсу естетичної публіцистики, а згодом його перевтілення в концепт музичної історіософії. ; Авторы исследуют историю идиомы "абсолютная музыка" и обосновывают ее актуальность для историков философии, показывая, что именно такая внефилософская апроприация философских категорий конституирует предмет интеллектуальной истории. Выявлено, что "абсолютная музыка" не является аутентичным термином музыкальной культуры XIX века, но удачным изобретением новой музыкальной герменевтики, что позволяет обозначить как исторический период в становлении музыкального искусства, так и парадигму понятий, характеризующих автономность музыкального бытия. По мнению авторов, предметом историко-философского исследования выражения "абсолютная музыка" должно стать преобразование философского термина в единицу дискурса эстетической публицистики, а впоследствии его перевоплощение в концепт музыкальной историософии. ; The history of the phrase absolute music has been studied by many theorists of music and music historians, while historians of philosophy proved to be rather reluctant to such syncretic concept. However, absolute music is exactly the case of non-philosophical appropriation of a philosophical category, which fits theoretical framework of the studies in intellectual history. Initial exploration on the synthesis of history of philosophy and musicology and music history has shown that the conceptual field of intellectual history enables the transition from abstract ideas to concrete social history of thought. It is proved that "absolute music" is not an authentic concept of music culture of the nineteenth century, but rather a good invention of new musical hermeneutics, which defined a period in the development of music and paradigm of concepts that characterized autonomy of musical form. The subject of historical and philosophical studies of the phrase "absolute music" lies in transformation of a philosophical term into a unit of aesthetic discourse, and later its reincarnation in the concept of musical historiosophy. Both philosophical and musicological approaches to the history of absolute music are based on the assumption that only theoretically relevant assertions and judgments appeal to the hermeneutic reconstruction and generalization, whereas political and social references of the discourse of absolute music can be left aside. So futher research shall focus on possibilities of how to reach the concrete social background of that form of thinking which employs the idiom absolute music.
Автори досліджують історію ідіоми "абсолютна музика" й обґрунтовують її актуальність для істориків філософії, показуючи, що саме така позафілософська апропріація філософських категорій конституює предмет інтелектуальної історії. Виявлено, що "абсолютна музика" не є автентичним терміном музичної культури ХІХ століття, а є вдалим винаходом нової музичної герменевтики, що дозволяє означити як історичний період у становленні музичного мистецтва, так і парадигму понять, що характеризують автономність музичного буття. На думку авторів, предметом історико-філософського дослідження вислову "абсолютна музика" має постати перетворення філософського терміна в одиницю дискурсу естетичної публіцистики, а згодом його перевтілення в концепт музичної історіософії. ; Авторы исследуют историю идиомы "абсолютная музыка" и обосновывают ее актуальность для историков философии, показывая, что именно такая внефилософская апроприация философских категорий конституирует предмет интеллектуальной истории. Выявлено, что "абсолютная музыка" не является аутентичным термином музыкальной культуры XIX века, но удачным изобретением новой музыкальной герменевтики, что позволяет обозначить как исторический период в становлении музыкального искусства, так и парадигму понятий, характеризующих автономность музыкального бытия. По мнению авторов, предметом историко-философского исследования выражения "абсолютная музыка" должно стать преобразование философского термина в единицу дискурса эстетической публицистики, а впоследствии его перевоплощение в концепт музыкальной историософии. ; The history of the phrase absolute music has been studied by many theorists of music and music historians, while historians of philosophy proved to be rather reluctant to such syncretic concept. However, absolute music is exactly the case of non-philosophical appropriation of a philosophical category, which fits theoretical framework of the studies in intellectual history. Initial exploration on the synthesis of history of philosophy and musicology and music history has shown that the conceptual field of intellectual history enables the transition from abstract ideas to concrete social history of thought. It is proved that "absolute music" is not an authentic concept of music culture of the nineteenth century, but rather a good invention of new musical hermeneutics, which defined a period in the development of music and paradigm of concepts that characterized autonomy of musical form. The subject of historical and philosophical studies of the phrase "absolute music" lies in transformation of a philosophical term into a unit of aesthetic discourse, and later its reincarnation in the concept of musical historiosophy. Both philosophical and musicological approaches to the history of absolute music are based on the assumption that only theoretically relevant assertions and judgments appeal to the hermeneutic reconstruction and generalization, whereas political and social references of the discourse of absolute music can be left aside. So futher research shall focus on possibilities of how to reach the concrete social background of that form of thinking which employs the idiom absolute music.
The acceptance of the phonograph by the researchers of the Ukrainian folk music made an importants tepin the establishment and development of the professional musicalethnography. Thanksto Theodor von Steinheil (1870–1946), a socio-political and cultural activist, philanthropist, and diplomat, Ukrainians were among the top three nations in Europe to have taken advantage of the technical innovation. In July 1898, as part of work in the Horodok Regional Ethnography Museum (near Rivne), which he had created, the researcher used a phonograph cylinder to record a harvest song. Yet, in recent years, as a result of the latest research of the Ukrainian and foreign scientist, new data about the selfless work of the researcher in the field of music ethnography has become available, which has drawn other scientists' attention to this topic. However, despite his momentous event in the history of ethnomusicology, the scientific feat of the baron was properly recognized only at the beginning of the ХХІ century in an article by Bogdan Lukaniuk. Nowadays, new data about the selfless work of the researcher in the field of musical ethnography has become available, stimulating interest in the topic. Therefore, the purpose of the research is to analyze the phonographic activity of Th. Von Steinheil and his museum associate V.Moshkov, adding to and verifying the data which had been published before. Having recorded his first several experimental phonographic audios, Th. von Steinheil did not stop at that. Already in autumn, he resumed his collecting work, and in addition too the pieces of music, recorded the repertoire of a lyrist. The baron in volveda folk loristanda military man V. Moshkov in the phonograph recording of folk music, who in 1898, recorded carol melodies for a Nativity drama, traditional Christmas felicitations, and some examples of Jewish folklore, hence establishing the beginning of the recording of Jewish tradition a musculature in Ukraine. Thanks to Th. Von Steinheilin four years, the phonograph recording of folk ...
Chan, Pui Shan. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. ; Includes bibliographical references (leaves 113-118). ; Abstracts in English and Chinese; appendixes includes Chinese. ; Acknowledgements --- p.ii ; Abstract --- p.iii ; Chapter Chapter 1: --- The Political and Social Influence on the Development of Hong Kong Film Industry and the Cantonese Cinema in the 1950s and the 1960s --- p.1 ; Chapter Chapter 2: --- Defining the Genre: Three Characteristics of Hong Kong Cantonese Youth Film --- p.24 ; Chapter Chapter 3: --- The Functions and Characteristics of Song in Cantonese Youth Film --- p.53 ; Chapter Chapter 4: --- The Modernity of Cantonese Cinema and the City (Hong Kong) --- p.87 ; Chapter Conclusion: --- Hong Kong Cantonese Youth Film and the Construction of Identity --- p.104 ; Appendix 1 --- p.107 ; Appendix 2 --- p.109 ; Appendix 3 --- p.111 ; Bibliography --- p.112
This article describes the main correlations that were obtained between music preferences and personal values. It has been discovered that personal values play a significant role in people's music preferences and they are at the forefront in proposing a map that links personal values to music preferences. According to the results, music preferences can be defined by personal values since people tend to listen to a specific type of music if corresponding values are projected such as conservatism and openness. In this case, music is broken into four preference dimensions which include reflective and complex for folk, jazz, and classical, rebellious and intense comprising of punk, rock, and alternate, conventional and upbeat comprising of pop, country, and soundtracks, and lastly rhythmic and energetic including funk, electronica, hip-hop, and soul. Besides, preferences may be defined by socio-demographic characteristics such as age and gender such that the young people tend to prefer music because of what the other peers listen to and enjoy music in social places such as bars, restaurants, and music festivals, middle-aged people listen to the music of their preferences and at the time of their choosing at homes or while carrying out activities, the aged tend to have less music preference but some cannot do anything without listening to music and therefore have to keep their preference music always. Males tend to focus on certain genres of music such as heavy metal and rock which are associated with cognitive listening and demonstrates a negatively conservative nature of music while females prefer listening to pop music more than males. This article discloses the main results that were obtained in the empirical study of different articles concerning the topic of the relationship between personal values and music preferences. No such research was conducted on Ukrainian-speaking samples before.
粤劇亦被譽為「南國紅豆」已有三百多年歷史是中國傳統戲曲之一。粤劇流傳於南中國,香港,以及海外華人的社會,其中以廣州佛山一帶最為著名。然而在近年外來文化的影響下,粤劇逐漸被忽視。自二零零九年起,粤劇正式被列為聯合國教科文組織人類非物質文化遺產。隨著國家政府對粤劇的重視,地方傳統曲藝在廣州的發展亦產生了變化。本論文以廣州粤劇的音樂社區為中心,著眼於樂師,把樂師分為業餘者,職業樂師及國家級演奏員三類。本論文亦論述粤劇樂師在粤劇國家化的過程中所面對的改變及所扮演的角色,並探討粤劇由一種地方性的民間傳統藝術演變為一項代表國家的非物質文化遺產對當地音樂社區造成的衝擊。 ; Since Cantonese Opera was declared an intangible cultural heritage representation by United Nations Educational, Scientific and Cultural Organization (UNESCO) in 2009, the Chinese government has carried out different policies to "develop Cantonese Opera. This study looks at the recent "development" of Cantonese Opera in Guangzhou from the perspective of musicians. In Guangzhou, different forms of performing groups are present, from privately organized interest groups to state-managed national troupes. This study divides the music community in Guangzhou into three sub-communities: amateurs, professionals and national musicians and investigates the changing lifestyle and way of interaction of musicians within the music community due to the changes that have occurred in Guangzhou with the listing of Cantonese Opera as an intangible cultural heritage. ; This research focuses on the musicians in the Cantonese Opera music community in Guangzhou. Based on a three-month intensive fieldwork and two pilot studies conducted in 2011 using participant observation and indepth interview, this thesis aims to explore the following questions: in what ways are the musicians' social life and mode of living altered? Has the whole music community become more strengthened and united owing to the social changes? Or is the music community becoming more stratified? Is the music community harmonious or full of dissonance? ; Detailed summary in vernacular field only. ; Cheung, Ah Li. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. ; Includes bibliographical references (leaves 127-133). ; Abstracts also in Chinese. ; Abstract --- p.i ; 摘要 --- p.ii ; Acknowledgements --- p.iii ; Table of Contents --- p.v ; List of Figures and Tables --- p.vii ; Chapter ...
A characteristic feature of rock culture, despite the seemingly nihilistic its nature, is the integration of the experience of other cultures and different arts. The rock musicians address classical and folklore music, poetry and theater as a guarantee of quality at the expense of such permanent makeup, and its existence at all. The purpose of this publication is to study the genre's recitation of music in the modern Ukrainian rock music.Today one of borrowed rock music phenomenon is recitation of music – reading poems to music. This concert genre is the most appropriate for the modern Ukrainian rock, the recitation of music, appearing in theatrical environments, evolving phenomenon of academic tradition, has great potential to enrich the rock art.Experiments involving seemingly foreign to the rock art genres and forms were almost immediately after the emergence of rock music. For example, such genres as rock opera and concept album (which originated from the instrumental and vocal cycles Romantic era), appear less than a decade after the first rock 'n' roll.Today in Ukraine there are many examples of poetic rock tandems, the best of which we believe are common creative of Yuriy Andruhovych and band "Karbido", Sergiy Zhadan and the band "Sobaky v Kosmosi", Yuriy Izdryk and the "Drumtyatr", Artem Polezhaka with the band "Barabas".The result of collaboration Yuriy Andruhovych with polish band "Karbido", (their music is not the only rock) appears as a triptych of albums "Moonshine. Cinnamon. Absinthe ", written and published in 2008, 2009 and 2011. The first album of cycle, which has Ukrainian and Polish versions, is a monolithic and consists of nine tracks.All poems included in the album are free verse that sound during meditative, minimalistic accompaniment. Poetic material for the album "Cinnamon" is taken from the book "Exotic birds and plants" and, unlike the previous one, consists of accentual-syllabic verse. At the same time, the musical language of the cycle is complicated and significantly expands the style aspect. The final part of the series "Moonshine. Cinnamon. Absinthe" is the clearest example of the use polystylism in trilogy.The results of the creative tandem of Sergiy Zhadan and the group "Sobaky v kosmosi" at this moment just deducted three albums (respectively – three concert programs): "Sports Club of the Army" (2008), "The weapon of the proletariat" (2012) and "Fight for Her" (2014). "Sports Club of the Army" consists of seven verses and the final number "Galya" performed by female folk Ukrainian song "Why do not you come." Most of the poems of Sergiy Zhadan, which were included in the album, are free verse, which reading on the background of primitive music parody (Zvenimir Babak), nostalgic ("Nataha"), dance ("Boxers") or mock-mourning ("Dimple") character. The album "Sports Club of the Army" is social in content. Sergiy Zhadan describes stories of addicts, migrant workers, athletes, poets as typical representatives of modernity. If the "Sports Club of the Army" consists almost entirely of free verse, the next two albums based purely on rhyming poetic material. In general, "Weapon of the proletariat" (2012) and "Fight for Her" (2014) are similar in structure and content and have distinct political content, with introduction of variable-improvised topical text, depending the time and place of performance of the band, and an unexpected ending.The poet Yuriy Izdryk picked general wave of interest literary and musical projects in 2010 with musician Gregory Semenchuk founded the project "Drumtyatr" in which he not only reads poetry, but also plays the bass guitar. An exceptional musicality Izdryk's manner of writing (especially since poetry), his meditative style reading wonderfully combined with a mixed style of music. "Drumtyatr", that has features electronic music, kraut rock, post-rock, rap and dubstep.In 2011 was released a joint album of poet Artem Polezhaka and band "Barabas" called "Spring. Love. Polezhaka", where there is a strengthened role of music (compared with projects Y. Andruhovych and S. Zhadan). Increased interest of poetry plenty of audience in different periods, leading at first to its public readings (concert performance poetry), and then – to new forms of synthesis with other arts, particularly music. Native poets actively work with rock musicians in the form of readings of poems to music.Most supporters of collaboration with musical bands were representatives of the "first tier" of modern Ukrainian literature by Ivano-Frankivsk (Y. Andruhovych and Y. Izdryk) and Kharkov (S. Zhadan and A. Polezhaka) schools. Poets in similar projects use as accentual-syllabic verse and free verse (even if they are not typical for them, as is the case with Artem Polezhaka).Reading poems to music in modern terms-round attraction to synthesize a variety of genres, styles and forms of art has a great potential and broad prospects for development. ; Статья посвящена использованию исполнительского жанра мелодекламации в современной украинской рок-музыке. Автор выбирает для анализа четыре тандема поэтов и музыкантов: Юрия Андруховича и группы "Karbido", Сергея Жадана и группы "Собаки в космосе", Юрия Издрыка и проекта "Drumтиатр", Артема Полежаки с группой "Барабас". На основе проведенного анализа выявлены определенные закономерности и общие черты музыкально-литературных проектов, сделан вывод об актуальности жанра мелодекламации для современной украинской рок-музыки. ; Стаття присвячена використанню виконавського жанру мелодекламації у сучасній українській рок-музиці. Автор обирає для аналізу чотири тандеми поетів та музикантів: Юрія Андруховича та гурту "Karbido", Сергія Жадана та гурту "Собаки у космосі", Юрія Іздрика та проекту "Drumтиатр", Артема Полежаки з гуртом "Барабас". На основі проведеного аналізу визначені певні закономірності та спільні риси музично-літературних проектів, зроблено висновок про актуальність жанру мелодекламації для сучасної української рок-музики.
Wong Hoi Sze Susanna. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. ; Includes bibliographical references (leaves 55-59). ; Abstracts in English and Chinese. ; Introduction --- p.1 ; Chapter Chapter One. --- Historical Perspective ; Political Cultural and Background of Estonia --- p.6 ; Arvo Part: A Biographical Sketch --- p.10 ; Stylistic Changes ; Early Tonal Works --- p.14 ; Part's Serial Technique --- p.16 ; Chapter Chapter Two. --- Tintinnabuli Style and Its Timbre ; The Inert Period --- p.18 ; The Influence of Early Music on Psrt --- p.20 ; The Principle of the Tintinnabuli Method --- p.22 ; The Importance of Bells to s Tintinnabulation --- p.27 ; Chapter Chapter Three. --- Analyses of Tintinnabuli Compositions ; Fur Alina --- p.30 ; Cantus in Memory of Benjamin Britten --- p.38 ; De Profundis --- p.45 ; Conclusion --- p.53 ; Bibliography --- p.55
Vitayatprapaiphan Nongyao. ; Thesis submitted in: June 2004. ; Thesis (M.Phil.)--Chinese University of Hong Kong, 2005. ; Includes bibliographical references (leaves 91-96). ; Abstracts in English and Chinese. ; Abstract --- p.i ; Acknowledgements --- p.1 ; Preface --- p.4 ; Chapter 1. --- Introduction - Knowing the Akha ; Chapter a. --- Background --- p.10 ; Chapter b. --- Problems the Akha People are Facing --- p.16 ; Chapter c. --- Government Policy Towards the Akha and Hill Tribes in Northern Thailand --- p.22 ; Chapter d. --- The Impact of Government Policy on the Akha People --- p.27 ; Chapter e. --- Rituals and the Beliefs of the Akha --- p.30 ; Chapter 2. --- The Traditional Musical Life of the Akha --- p.33 ; Chapter 3. --- The Impact of Christianity on Akha Life and Musical Life --- p.38 ; Chapter 4. --- The Impact of Tourism on Akha Life and Musical Life --- p.56 ; Chapter 5. --- Prospects for the Traditional Musical Life of the Akha --- p.65 ; Chapter 6. --- Conclusion --- p.73 ; Appendix I: Figures --- p.82 ; Appendix II: Musical Examples --- p.89 ; Bibliography --- p.91
The article outlines the existence of the main components of the polynational musical culture in the WUPR. Its feature is instrumental and vocal folklore of Ukrainians, Poles, Jews, Germans, Hungarians, Romans, and other ethnic groups, and also peculiarities of music of ethnographic regions (Boikivshchyna, Bukovyna, Hutsulshchyna, Zakarpattia, Lemkivshchyna, Opillia, Pokuttia). Musical art successfully performed its social and cultural functions in the life of civilians and military, social strata, believers of different denominations. It helped to live and fight, to educate and mobilize, to create stronger ukrainian society spirit and popularize ukrainian nation in the world, to heal. The legislative actions of the newly created state in the field of culture, particularly of art, attested to its significance. The article specifies isolated facts from biographies of musical artists, authorship of some of their works. The purpose of our work is to systematize sources of information about the various national music of the WUPR. The urgency of this is enhanced by the fact that for a long time, due to the Communist taboos, such notes were unknown to the public. The article helps to highlight the manifestations of the components of musical culture, the development of its separate genres. The feature of WUPR music was the instrumental and vocal folklore of the ethnographic regions (Boikivshchyna, Bukovyna, Hutsulshchyna, Zakarpattia, Lemkivshchyna, Nadsiannia, Opillia, Pokuttia), as well as the music-making of different ethnic groups (Poles, Jews, Germans, Romans, Hungarians, etc.), which were predominantly part of the urban population. The peculiarities of music were also influenced by the place of residence of the people, most of which lived in villages and were engaged in agriculture. The complicated living conditions caused by the First World War, and later by Ukrainian-Polish armed struggle, devastation, hunger, diseases, outbreaks of epidemics, have not suppressed music-making completely. Church music retained its prevalence (liturgical singing, bell-ringing, organ playing). The proclamation of the Ukrainian state on the territory of Eastern Galicia caused a general elevation of Ukrainians prompting the surge of their public music-making. Among the genres of music, the most popular and common one was a song. Military music was developing further, including brass bands; singing of sacred works, in particular those that were performed at the funeral of slaughtered soldiers or those who died from the wounds. Musical and theatrical life awakened. Music-making was an urgent need to compensate for the living difficulties of all the ethnic groups at that time. At the beginning and end of the WUPR's existence, such a style trend as the Galician musical Biedermeier manifested in a peculiar way. The significance of music is reinforced by the persecution of its leaders, in particular Ukrainian priests, by Polish interventionists. Numerous newspapers contributed to the development of musical criticism. The results of our scientific research are useful for better understanding of the functions of music in different situations of the Galicians' life, its essential role in satisfying certain spiritual needs. songs of the Ukrainian Sich Riflemen gained popularity; new vocal productions appeared. Military chaplains arranged, if necessary, group ; Окреслено побутування в ЗУНР головних складових полінаціональної музичної культури. Її прикметою був інструментальний і вокальний фольклор українців, поляків, євреїв, вірмен, німців, угорців, ромів, ін. етносів і особливості музики етнографічних регіонів (Бойківщини, Буковини, Гуцульщини, Закарпаття, Лемкінщини, Опілля, Покуття). Музичне мистецтво успішно виконувало притаманні йому соціокультурні функції в житті цивільних і військових, соціальних прошарків, віруючих різних конфесій. Воно допомагало жити й воювати, виховувати та мобілізовувати, утверджувати українство й оздо- ровлюватися. Закономірні дії новоствореної держави у сфері культури, зокрема мистецтва засвід- чували розуміння його важливості на фронті й у тилу. У статті уточнено окремі факти з біографій діячів музичного мистецтва, авторство деяких їхніх творів.
The interaction between cultural institutions and financial corporations in modern Italy is considered, the role of financial funds in the organization of art projects is revealed, the issues of management and marketing in the field of culture, in the organization of any cultural project, in the study of the consumer market are investigated. The relations of cultural institutions and financial corporations ("Le Fondazioni Lirico-Sinfoniche"), their influence on the promotion of a cultural product, in particular, the economic and financial activities of funds, are analyzed. The results of financial indicators le fondazioni are systematized. The weight of state and private contributions in financing large Italian opera houses, the activities of state authorities in the implementation of art projects, control over a cultural enterprise and investments are characterized. The balance between expenses and income from sales, the ratio between staff costs and operational grants in the implementation of opera projects is presented. It is determined that the added value, which is equal to the difference between the cost of production and the cost of goods and services, makes it possible to measure the realized artistic and cultural products in economic terms. The activities of Fondo Rotativo, mainly associated with government assistance in the reorganization of the financial activities of foundations, the reform of the musical component at all levels of cooperation with many social institutions of the state, and the reorganization of Le Fondazioni, are examined. It is noted that the lack of structure in Italian musical life needs a reform of the musical organization at all levels of the system, requiring the cooperation of many social institutions. In the implementation of art projects, a significant role belongs to public authorities, in addition, the Le Fondazioni Lirico-Sinfoniche play a decisive role in maintaining the Italian cultural brand. An analysis of Le Fondazioni's financial indicators suggests that the funds strive for a balanced budget, despite the difficulties and not always the optimal result. Budget profit is not the main goal of the opera house, but the balance between expenses and income is the minimum essential condition, which guarantees the economic and financial stability of the fund. The new financial restructuring will have a positive effect if it provides for stricter management rules and control mechanisms. State and industry have invested to ensure the development of art. ; Розглянуто взаємодію між культурними інститутами і фінансовими корпораціями в сучасній Італії, розкрито роль фінансових фондів в організації мистецьких проектів, досліджено питання менеджменту і маркетингу у сфері культури, в організації будь-якого культурного проекту, у вивченні ринку споживачів. Проаналізовано відносини культурних інститутів і фінансових корпорацій («Le Fondazioni Lirico-Sinfoniche»), їх вплив на просування продукту культури, зокрема економіко-фінансову діяльність фондів. Систематизовано результати фінансових показників le fondazioni. Охарактеризовано вагу державних і приватних внесків у фінансуванні великих оперних театрів Італії, діяльність органів державної влади щодо здійснення мистецьких проектів, контролю над підприємством культури та інвестиціями. Представлено баланс між витратами і доходами від продажів, співвідношення між витратами на персонал та операційними грантами при здійсненні оперних проектів. Визначено, що додана вартість, яка дорівнює різниці між вартістю виробництва і витратами на товари і послуги, дає можливість вимірювати реалізовану художньо-культурну продукцію в економічному плані. Розглянуто діяльність «Fondo Rotativo», пов'язану переважно з державною допомогою в реорганізації фінансової діяльності фондів, реформування музичної складової на всіх рівнях співпраці з багатьма соціальними інститутами держави, реорганізацію «Le Fondazioni». Наголошено, що відсутність структурованості в італійському музичному житті потребує реформування музичної організації на всіх рівнях системи, вимагаючи співпраці багатьох соціальних інститутів. У здійсненні мистецьких проектів вагома роль належить органам державної влади, крім того, вирішальну роль у збереженні італійського культурного бренду відіграють «Le Fondazioni Lirico-Sinfoniche». Аналіз фінансових показників «Le Fondazioni» переконує, що фонди прагнуть до збалансованого бюджету, незважаючи на труднощі і не завжди оптимальний результат. Бюджетний прибуток не є головною метою діяльності оперного театру, але баланс між витратами і доходами — це мінімальна істотна умова, що гарантує економічну й фінансову стабільність фонду. Нова фінансова реструктуризація матиме позитивний ефект, якщо передбачатиме більш жорсткі правила управління та механізми контролю. Держава і промисловість мають інвестувати, щоб забезпечити розвиток мистецтва.
