Collection of scientific works “Notes on Art Criticism”

Stage as the Extent of Artistic Exploration of the Director-Author. Part 4. Luchino Visconti: Theatrical Practices of the Film Director

Galyna Pogrebniak — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to identify the problems of creativity of directors-authors who have realised their artistic potential both in author's cinema and in the plane of the stage and to define scientific landmarks that will contribute to the comprehensive analysis of the phenomenon of the film author in stage art. Research methodology. The methods of scientific analysis, comparison, generalisation, and introspection of the artist were used in the development of the topic. In addition, analytical and systematic methods were applied in their unity, which is necessary for the study of the art history aspect of the problem. The scientific novelty of the study consists in determining the universality of directing as a specific type of artistic and aesthetic activity; in clarifying the mutual influence of stage and screen arts in the use of expressive means; in the determined features of the film author's activity in the stage space through the adaptation of screen means in theatrical productions, which became the subject of a special study for the first time; in coverage, the universal activity of directors-authors who resorted to reforming the language of cinema and the language of stage production; in the discovery of original principles of the creation of a film and specific means of film expression, which not only found direct embodiment in films and contributed to the emergence of notable author's film works, but also had a significant impact on the author's theatrical direction, which was distinguished by the search for visualisation of stage images. Conclusions. It is proved that the stage creativity of film directors-authors calls into question the theoretical postulates about the perniciousness of the intrusion of the theatre culture into the territory of the screen. It has been found that the visual and expressive means that provide the chronology of image creation (long shots, intra-frame montage, acoustic, light-shadow effects), the use of which is considered a high degree of skill in cinema, have their origins in stage art.

Keywords: director-author, stage space, director's tools, theatre, stage, screen, acting skills, musical art, television.

Specificity of European Theatre Directing of the Flemish Wave: Metaphorical Images Luk Perceval

Iryna Ivashchenko, Maryna Tatarenko — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to reveal the peculiarities of the creative activity of one of the leading representatives of theatre directing of the "Flemish wave" Luk Perceval. Research methodology. The analytical method, the method of typological, art history, genre-stylistic, and figurative-stylistic analysis was used, thanks to which the author's approaches and the methodology of L. Perceval's direction were revealed and structured, as well as the method of theoretical generalisation. Scientific novelty. The creative activity of one of the leading directors of the European theatre at the end of the 20th century and the first two decades of the 21st century was studied. L. Perceval; the aesthetics of L. Perceval's theatrical direction are analysed through the prism of the concept of post-dramatic theatre; metaphorical images and their place in the visual text of the play are considered, using the example of the productions of "Othello" by W. Shakespeare and "Black-Yellow-Red Trilogy: Journey to the European Heart of Darkness" (alternative name "Belgium Sorrow") by S. Khin. Conclusions. Theatrical direction of L. Perceval, whose artistic thinking was formed in the atmosphere of Flemish theatre culture and reflects all its features, is characterised by an active search for exquisite symbolic forms of the embodiment of the highest unity of all living things. The director interprets modernity through the prism of the past, makes an attempt to highlight the deep contradictions of the modern socio-cultural space in the process of creating a system of creative reflections, the complex play of aesthetics of modern post-dramatic theatre and generalising various cultural layers and topics relevant to people of the 21st century in comprehensive metaphors. L. Perceval comprehends the problems of place and time, nature, life, freedom, independence, the complexities of life and natural contradictions, phenomena and tragedies that strike a person. The director expresses his own attitude, inner experiences and deep feelings with the help of metaphorical symbols that make up the essence of his creative manner. A feature of L. Perceval's directorial vocabulary is the search for metaphorical ways of stage expression of the complex psychological content of productions, in the process of researching the main contradictions of the human personality, which enhance the plasticity of the updated minimalist stage space of the performance.

Keywords: Luk Perceval, European theatre direction, "Flemish wave", post-dramatic theatre, metaphorical images.

Creative Activity of V. Hegamyan in the Context of the Development of the Odesa School of Painting

Olena Afonina, Maryna Yur — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the work is to investigate the key events of the creative life and activity of the Odesa artist of Armenian origin V. Hegamyan, whose creative output left a noticeable mark in the development of the Odesa school of painting in the second half of the 20th – beginning of the 21st centuries. The research methodology is based on the application of methods of analysis, synthesis, art history, historical-chronological approach, which made it possible to find out the substantiated results of the research. The scientific novelty of the work consists in deepening and systematising the study of the work of the famous Ukrainian artist V. Hegamyan in the context of the development of the Odesa glass painting. Conclusions. The work determined that starting from the 1960s, due to the relocation to Odesa, a new stage began in V. Hegamyan’s creative period, which was determined by the new cultural and artistic environment and the creative searches carried out by the artists of that time. The artistic dominants of V. Hegamyan's works were determined by the artist's inherent monumentalism, traditional colour scheme and characteristic plot, composition, and imagery. Over the decades, having absorbed the main trends of the Odesa school of painting, V. Hegamyan formed his own artistic style in art, which consisted of a combination of graphic, pictorial, and monumental techniques. Being at the intersection of Armenian and Ukrainian cultures, V. Hegamyan's works clearly trace the appeal to ethnic, archaic motifs, symbolism, which created a special mythopoetics of his works, imposing double or even triple meanings on them. At the same time, V. Hegamyan's creative life was closely intertwined with his teaching activities; he was the founder of the graphics department at the Odesa pedagogical institute. He brought up a whole pleiad of artists who later became famous not only in Odesa, but also in Ukraine: such famous artists as V. Volkov, V. Zakharchenko, S. Lykov, O. Nedoshytko, Ye. Rakhmanin, V. Riabchenko, O. Roitburd, A. Furlet and others. Thanks to his creative and pedagogical activity, V. Hegamyan wrote a bright page in modern Ukrainian fine art as an original artist who formed a unique system of artistic imagery.

Keywords: V. Hegamyan, Odesa school of painting, nonconformism, stylistic trends, artistic and cultural life, intersection of cultures, regional specificity, art, artist's creativity.

Features of Cultural Nationalism in Museum and Gallery Activities of Decolonised Countries of Asia

Kateryna Gamaliia, Yevheniia Artemenko — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of this article is to define a system of approaches to the formation of the national and cultural identity of post-colonial Asian countries through the prism of their museum and gallery activities of various forms of ownership. Research methods. The research is based on the theory of postcolonialism, stylistic, iconographic, biographical and comparative-historical methods are applied. The scientific novelty lies in the fact that for the first time, against the background of three Asian countries (Taiwan, Singapore, the Philippines), the development of a post-colonial cultural policy strategy and the functioning of museums, galleries, and other types of artistic organisations were examined. Conclusions. As a result of the comparative analysis, it was found that all the above-mentioned states have a common problem of the primary multiculturalism of societies, which, together with the experience of colonial dependence, led to the hybridisation of culture. Their museums and galleries are in close interaction with the state and are interdisciplinary centres of knowledge. The art of the indigenous population is a priority in terms of study and exposure, but the art of the ex-colonizers has not completely disappeared from the exhibition halls. Each of the countries builds its own special type of cultural relations with the former occupier. The research is useful practical training for art historians, especially museum workers, cultural managers, as well as for civil servants in the field of culture, historians, political scientists.

Keywords: postcolonialism, identity, Asia, cultural nationalism, indigenous art, museum, gallery.

Projections of the Works of the Ukrainian Avant-Garde in the Design of Brands of Patriotic Accessories

Zhanna Denysiyuk — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to investigate the use of artistic graphic images of avant-garde works of fine art in the prints of patriotic brands’ accessories, in particular, scarves. The research methodology involves the use of a systematic approach, as well as a set of scientific methods: analytical, synthetic, art history, historical and cultural, semantic, which allow a comprehensive consideration of the given problem in order to obtain substantiated research results. The scientific novelty of the work consists in the actualisation of the modern use of images of artistic works of representatives of the Ukrainian avant-garde on printed images of such patriotic accessories as scarves, which are gaining popularity at the modern stage. Conclusions. Summarising, we note that the use of images of artistic paintings by Ukrainian avant-garde artists as prints on modern patriotic accessories, in particular scarves, the production of which is gaining increasing popularity in the wake of national-patriotic uplift, serves not only as a fashionable brand and a means of individual expression, but also as a form of representation of national cultural identity with the use of cultural artefacts, a means of popularising the artistic heritage of Ukrainian artists. The use of prints of author's works of art on items of modern clothing next to the more widespread tradition of embroidered clothing is a modern form of cultural and artistic, value representation of Ukrainian culture, which, in addition, strengthens the functions of symbolic meaning of modern society and actualising the achievements of national culture.

Keywords: works of art of the Ukrainian avant-garde, clothing brand, accessories, scarves, patriotic clothing, print, national and cultural identity.

The creativity of Feodosii Humenyuk in the formation and development of the Kyiv school of historical painting

Viktor Karpov, Volodymyr Pekarchuk, Tetiana Filina, Yuliya Maystrenko-Vakulenko — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the work is to study the main stages and stylistic characteristics of the work of the People's Artist of Ukraine F. Humenyuk as a bright representative of the Kyiv school of historical painting. The research methodology consists in the application of such scientific research methods as historical, art history, analysis, synthesis, and Semitic, which together made it possible to achieve substantiated research results. The scientific novelty of the work consists in summarising the work of the outstanding Ukrainian artist F. Humenyuk and examining it from the perspective of the formation and development of the Kyiv school of historical painting. Conclusions. As a result of the conducted research, it was established that the work of F. Humenyuk is an important component in the development of the modern Kyiv school of historical painting, within which the artist formed his own unique style, which is based on the deep traditions of folk art, icon painting, Byzantism, Baroque, and Boychukism. In his works, which are characterised by multi-component complex compositions, the historical past and modern artistic versions of his reading are combined. The author's symbolic and allegorical interpretations of historical events and persons are full of many meanings, metaphors and images, forming an original poetic background for reading the stories at a highly professional level. Heading the educational and creative workshop of historical painting for a long time, F. Humenyuk not only educated worthy students, but also significantly influenced the formation of the Kyiv school of historical painting.

Keywords: historical painting, Kyiv School of Painting, Feodosii Humenyuk, Kyiv Art Institute, author's stylistics.

Mural Painting of the Church of All Venerable Fathers of Pechersk as a Reflection of Compositions of the Late 19th – Early 20th Centuries

Maryna Bardik — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to enucleate and analyse the connection between the mural painting compositions of the Church of All Venerable Fathers of Pechersk (of the Caves) and the painting of other churches of the Kyiv-Pechersk Lavra. The research methodology is based on historical and cultural analysis, art study analysis, and empirical observation. Scientific novelty of the study. The dating of the mural painting of the Church of All Venerable Fathers of Pechersk of the Kyiv-Pechersk Lavra has been clarified. The main thematic and plot line of the Church decoration is defined and its presentation in various compositions is revealed. The thematic, plot, iconographic, academic connections of the mural paintings with the mural painting and icon painting of the Kyiv-Pechersk Lavra’s churches at the turn of the 19th – 20th centuries as well as archival visual sources have been observed. The transformation of the original compositions in the murals of the Church of All Venerable Fathers of Pechersk has been studied. The peculiarities of the mural paintings colouring have been determined. It has been revealed using the academic painting heritage of the Great Church as the modern painting practice and historical tradition of the Kyiv-Pechersk Lavra. Conclusions. The mural painting compositions of the Church of All Venerable Fathers of Pechersk of the Kyiv-Pechersk Lavra were painted by artists under the supervision of Oleg Borovyk in 2002. The main thematic and plot line of the paintings is the theme of the Pechersk (the Cave) Monastery. It has been revealed in the gallery of images of Venerable Fathers of the Caves and saints associated with it, illustrations of the Pechersk Monastery foundation and the Great Church creation. Cold shades dominated by blue, green, turquoise and silver prevail in the paintings colouring. Based on the academic tradition, archival photos artists borrowed in whole or in part mural compositions of the Great Church (Dormition Cathedral, 1897–1901). They cited fragments of mural and icon painting compositions of the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the early 20th century). Borrowing had the historical precedent, the Lavra managing board issued an order (1900) to take the compositions of the Great Church as a model for painting the exterior of the Holy Trinity Gate Church. Citing the academic compositions of the Great Church revived them and joined the mural painting of the Church of All Venerable Fathers of Pechersk to the artistic tradition of the Kyiv-Pechersk Lavra.

Keywords: sacral culture, Orthodoxy, academic painting, mural painting, icon painting sacral painting, Ukrainian painting, Kyiv‑Pechersk Lavra, Church of All Venerable Fathers of Pechersk (of the Caves), Great Church, Dormition Cathedral, Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (Refectory Church), Holy Trinity Gate Church.

Natives of Ethnic Ukrainian Lands at the Venice Biennale: Louise Nevelson

Olena Leontieva — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to study the peculiarities of the presentation in the projects of the Venice Biennale of 1962 and 2022 of the works of the outstanding American sculptor, assemblage master, L. Nevelson (1899-1988), a native of Pereiaslav, Kyiv region, to consider the specifics of the artist's creative biography from the point of view of the influence of various sociocultural factors on her professional progress. Research methodology. Achieving the goal of the research ensured the application of a set of such methods as art criticism, biographical, historical, and among general scientific methods – observation, generalisation, analysis and synthesis. Scientific novelty. The issue of presentation of L. Nevelson's works in the projects of the Venice Biennale was not previously considered separately in the scientific literature. For the first time, a review and generalisation of three art projects of different years, which exhibited the sculptor's artistic works as part of an international art exhibition, was carried out. Conclusions. The article expands knowledge about the artistic heritage of a prominent artist, introduces her name into the Ukrainian cultural context, emphasising the significance of the sculptor's work for modern world art and culture. L. Nevelson's works presented at the Venice Biennale characterise her as an extraordinary artist, the progenitor of the idea of installation in American art. Her work is not limited to this format, but it is the monumental monochrome assemblages immersed in the plane that brought her true fame. In American art circles, L. Nevelson was as famous as Andy Warhol, she made an important step in the history of art, which due to eternal sexism, when women artists were not taken seriously, did not receive due recognition.

Keywords: Louise Nevelson, Venice Biennale, exhibition, contemporary art, sculpture, installation, assemblage, intercultural dialogue.

Mythological and Religious Basis of Mykhailo Sapozhnykov’s Symbolic Painting

Sergii Nesmachnyi — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to analyse and systematise the figurative structure of artworks from two series of symbolist paintings by Mykhailo Sapozhnykov in the light of Slavic and ancient mythology, Christian religion. The methodology of scientific research is based on use of systematic approach in combination of general scientific and special methods of cognition, such as analytical, formal-stylistic, systematisation, and generalisation. The application of these methods and approaches contributed to the thorough processing of the identified issues and made it possible to formulate reasoned conclusions. The scientific novelty of research consists in a comprehensive approach of consideration and synthesis on range of issues regarding the influence of Slavic and ancient mythology, the Christian religion on aesthetics and figurative style symbolist painting of M. I. Sapozhnykov. This issue was considered for the first time. Conclusions. The artwork of Mykhailo Sapozhnykov (1871–1937), as a consistent symbolist artist, occupies a special place in the history of Ukrainian fine art. Range of the artist's works presented in the research proved his ultimate interest in ancient and Slavic mythology, as well as the Christian religion, which together become a specific keynote of the paintings from two symbolist series. The artist's interest in mythology is reflected in the presented images, in the titles of artworks, and in pantheistic mood of most symbolist paintings. Animism is an obligatory element of the symbolist painting’s aesthetics by M. Sapozhnykov. According to the results of scientific research, two types of figures are allocated according to their function and status: personifications of natural forces, where elements and earthly matter itself, appear in anthropomorphic and zoomorphic forms and figures of folk demonology, among which the figure of Pan stands out – the key character of the artist's symbolist paintings. Following the results of research, it was found that 18 symbolist paintings have thematic quotations from the Bible selected by the author as a kind of epigraph, what are artist by himself called "keys".

Keywords: Mykhailo Sapozhnykov, symbolism, painting, mythology, pantheism, the first quarter of 20th century, Dnipro Art Museum.

Pedagogical Principles of Teaching Art Disciplines for Future Graphic Designers during Martial Law in Ukraine (on the Example of NACAM)

Rostyslav Bobrenko — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the paper consists in outlining the pedagogical principles of teaching art disciplines for students of higher education majoring in graphic design during martial law (on the example of the National Academy of Culture and Arts Management (NACAM). The research methodology consists in the application of a complex of general scientific methods, among which the main ones are: objectivity, functionality, comparative analysis, explanatory, generalisation, and systematisation. Special methods include a complex of pedagogical methods: organisation of the educational process, problem-based teaching, lecture, research, and creative methods. Scientific novelty of the research. Submitted for the first time pedagogical principles are presented, on the basis of which the author teaches future graphic designers a number of artistic disciplines at NACAM. The research of domestic scholars became the basis for the analysis and generalisation of the selected issues. At the same time, the conceptual apparatus, the legal and regulatory framework were revealed, and the main principles of the lecturer's work in the conditions of martial law in Ukraine. Conclusions. Among the wide range of pedagogical principles of teaching artistic disciplines for future graphic designers during the martial law in Ukraine, we emphasise: safety of the educational process; the responsibility of the student for the thematic choice, their observance of academic and legal principles in creative activity; consistency with civil/public requests; artistic originality in design and projecting and scientific validity in conducting and describing educational research; partnership conditions teacher-acquirer; cultural progress; cross-border education and multiculturalism; professional implementation. Keywords: design, training of graphic designers, pedagogical principles, artistic disciplines, higher education during martial law.

Visual Communication and Marketing: Analysis of the Impact of Graphic Design on Consumers

Raddamila Kosarevska — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to investigate the significance of graphic design in the context of visual communication and the analysis of its influence on the perception and choice of consumers in the marketing sphere. Research methodology. In the course of the study, a semiotic approach was applied in order to determine the meaning of signs and symbols used in the graphic design of brands; a communicative approach to analyse the interaction of the brand with the target audience through graphic design. Within this approach, design is perceived as a communication tool that conveys certain brand messages and values to its audience. Using a communicative approach allows you to analyse how graphic design affects the target audience, evoking certain associations and emotions in it. The ecological approach is related to the study of society's interaction with the environment and the development of "ecological thinking", which can be expressed through the establishment of a "dialogue" between society and the environment. Modern graphic design as an activity, one way or another related to transformation and design, cannot ignore the impact on the environment. Scientific novelty. It identifies how graphic design, with its interactivity and hybrid aesthetics, is activated in the digital space, providing a wide range of opportunities for visual communications and marketing activities. Conclusions. The results of the study indicate that graphic design in the context of visual communications plays a key role in conveying marketing information to different groups of consumers. Visualisation here serves as a tool for forming a certain attitude of consumers towards marketing strategies.

Keywords: graphic design, marketing communications, consumer behaviour, corporate graphic colours, graphic minimalism, brand.

Role of Graphic Design in Computer Polygraphic Research: Influence of Design Decisions on Product Production and Use

Nina Pantus, Nataliia Zolotarchuk — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to find out the role of graphic design in computerised printing processes and evaluate how the choice of design decisions affects the production and functionality of finished printing products. Research methodology. The research used theoretical analysis to study literary sources, scientific publications and historical data on the development of graphic design and its impact on the printing industry. Empirical observation, such as data collection through observation of work processes in design studios and printing houses, analysis of real cases of implementation of design solutions were applied. Comparative method was used to compare the effectiveness of different design approaches and their impact on the final product. Case analysis, as a detailed analysis of specific projects where innovative design solutions was applied, and evaluation of their impact on product success. Scientific novelty consists in the fact that the impact of graphic design on printing production and its perception by consumers has been investigated. It has been established that design solutions affect the efficiency and attractiveness of products. The processes of merging graphic design with computer polygraphic processes were studied, from the perspective of the formation of changes in design work, and it was determined for the first time that modern visual trends affect the interactivity and emotional perception of users. Conclusions. It was determined that polygraphic complexes form a unique corporate style that communicates with other design elements through clear visual images. Graphic design reproduces reality through a creative combination of colour, shape and texture, creating a subjective worldview. Simplicity and clarity are key to effective visual communication. Artistic images, which become full-fledged graphic objects in design, depend on visual perception and psychology, and are subject to various transformations to achieve the desired effect in printed products.

Keywords: computer printing, graphic design, digital design, artistic method, printing product.

Features of Visual Identification of Modern Ukrainian Theatres by Means of Graphic Design

Yaroslav Lanchak — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to reveal the features of visual identification of Ukrainian theatres by means of graphic design. Research methodology. The method of typology and techniques of figurative and stylistic analysis are applied, as well as the method of semiotic and visual-cultural analysis of brand symbols of Ukrainian theatres. A combination of the descriptive method and techniques of formal analysis are used to identify the means of artistic expressiveness used by the designer. The method of semantic and structural-semantic analysis help to clarify the cultural meanings of images created for the representation of Ukrainian theatre. The graphic-analytical method is used to visualise research results. Scientific novelty. Peculiarities of visual identification of modern Ukrainian theatres by means of graphic design were studied. The main attributes of visual identification of Ukrainian theatres – emblems and logos – were considered, their comparative analysis was carried out. The concepts of "emblem" and "logo" in the context of graphic design have been clarified; based on the structural and semiotic analysis of emblems of Ukrainian theatres, the spectrum of their visual images was characterised. Conclusions. The visual identification of modern Ukrainian theatres is a system of symbolic and graphic images, the logic of which is built to distinguish theatres by their purpose according to their types (musical, music-dramatic, dramatic, puppet, and others), as well as to differentiate each specific theatre within the defined typology. The emblem as a symbolic image of a certain idea encoded in a graphic form is the main visual image of the theatre, endowed with symbolic meaning, which conveys the main values of this cultural institution with the help of the graphic elements depicted on it. It is used for visual identification of the theatre in real and virtual space. The study of the emblems of modern Ukrainian theatres has revealed the following. Characteristic elements for the symbolism of Ukrainian theatres expressed in the emblems are elements of architectural origin (theatre buildings), graphic images of famous Ukrainian representatives of theatre, literature and art (Lesia Ukrainka, I. Franko, T. Shevchenko, M. Vodianyi, M. Sadovskyi, and others) and Harlequin masks as a symbol of the acting profession. Socio-historical and cultural factors are fundamental elements of concept formation. Emblems symbolically reflect theatrical, primarily acting activity. The conceptual solution of the corporate style also reflects the idea of the existence of the theatre and the values it offers in the space of modern culture: humanity, heredity, traditionality, and interculturality. Decoding symbolic images requires a high level of education and intelligence. Brand symbols can be built on a nuanced solution, in which all style elements enhance the effect of simplicity, complexity or an intermediate option.

Keywords: graphic design, Ukrainian theatres, visual identification, emblem, logo.

Chamber Choir as Creative Entity (Case Study of Drohobych’s “Legend”)

Iryna Bermes — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to reveal the peculiarities of the creative activity of the municipal chamber choir "Legend" under the leadership of Natalia Samokishyn. Research methodology. The methodological basis of the article consists of general scientific theoretical methods of systematisation and generalisation to reproduce the characteristics of the rehearsal and concert practice of the chamber choir “Legend”. The scientific novelty of the article lies in the fact that for the first time, the period of the choir’s activity (2013-2023) under the direction of Natalia Samokishyn is characterised, the main methodological principles of her work, repertoire priorities, and key moments in the “Legend’s” activity are identified. Conclusions. Choral performance at the modern stage develops in accordance with socio-cultural circumstances and audience demands. It tends towards the “chamberisation” of choral art, the emergence of small-scale choral groups. This is dictated by both economic issues and the desire to provide the performance of musical works with minimal resources. Ukrainian choral art, presented at the modern stage mostly by chamber choral ensembles, is a vibrant phenomenon of national culture characterised by a “cathedral” beginning with the function of collective consciousness. The principles of creative practice of the “Legend” municipal chamber choir (Drohobych town), which combines traditions and innovations in the search for performance techniques, repertoire palette, interpretational versions, and stage “image”, are revealed. The ensemble successfully demonstrates that among all directions of contemporary sound art, choral music stands out with significant semantic content, making it crucial for the artistic interpretation of themes and musical technologies updated in the present day.

Keywords: choral performance, chamber choir, Drohobych’s “Legend”, repertoire, creative activity.

Musical Projects in Guitar Pro 7.5 Sequencer

Valerii Kozlin, Valentyna Hryshchenko — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to study the process of creating musical projects in the GUITAR PRO 7.5 sequencer. Research methodology. The article uses a systematic approach, as well as methods of analysis and synthesis, comparison and generalisation. The scientific novelty lies in the identification and development of innovative methods of working in the GUITAR PRO 7.5 sequencer, which allows creating musical compositions from scratch using modern software tools, as well as the possibilities of using music information technologies in the further artistic practice of musicians, sound producers, sound engineers, producers and in professional music education. Conclusions. This software product is a powerful music editor that allows one to create original scores at a professional level for subsequent editing. The programme presents many necessary tools with which the user can work with a variety of musical notation symbols and a wide range of sound dynamics and tempo control, which allows you to create samples of sounding musical pieces and their phonograms. It has a powerful built-in MIDI editor, chord builder, player, metronome, and other useful tools for musicians. Guitar Pro 7.5 can be run on Windows, Linux, and Mac OS platforms. It is widely used by musicians, composers, arrangers, sound engineers, sound designers, and producers. In addition, Guitar Pro 7.5 methods can be used for studying by students who are mastering the relevant specialties in higher educational institutions.

Keywords: music notation editor, score, arrangement, sound, musician, composer, sound producer, sound engineer, producer, professional music education.

Conceptual Principles of Creativity by Valentin Sylvestrov

Oleksandr Opanasiuk — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to analyse the conceptual principles of V. Sylvestrovʼs work in the context of the philosophical concepts of G. Hegel, E. Husserl and the theory of intentionalism of culture and art. The research methodology is based on philosophical-analytical, cultural, musicological, and comparative analysis. This made it possible to objectify and determine the semantic content of the conceptual principles of V. Sylvestrovʼs work in the context of the fundamental foundations of these theories and the procedural existence of European culture in the intentional period of its formation. The scientific novelty of the work lies in the fact that, for the first time, the conceptual principles of V. Sylvestrovʼs work are defined and characterised at the transdisciplinary level. Conclusions. Phenomenology not only determines the semantic bases of the intentionalism of V. Sylvestrovʼs music, but also the conceptual principles of his work. The composer’s desire to express the essential level of the music itself is reflected in G. Hegel’s theses "to turn against the content that alone has held significance until now" and with the help of this "get the content in itself". And also in harmony with E. Husserlʼs slogan "Back to objects", which implies "returning to the things themselves", i.e. their phenomenological content. At the same time, the philosophical concepts of G. Hegel, E. Husserl and the conceptual principles of V. Sylvestrovʼs work are determined by the intentional reflection of culture, which in the final period of formation models the appropriate form of its existence and the existence of cultural and artistic phenomena. If phenomenology is a peculiar principle and form of expression of images in the music of V. Sylvestrov, then the pan-melodic principle appears as a way of such being. Therefore, phenomenology and the pan-melodic principle determine the semantic content of peripheral aspects, intro-retro-spections and compilations, and actually are the conceptual principles of Sylvestrovʼs work.

Keywords: conceptual principles, phenomenology, pan-melodic beginning, V. Sylvestrov, philosophical concepts of G. Hegel and E. Husserl, the theory of intentionalism of culture and art.

Current State and Retrospective of Piano Duets Development

Yevhen Kuryshev — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to shed light on contemporary piano ensemble performance, particularly duet execution, within the context of its traditions, historical antecedents, and current trends. The article examines the piano duet in its present-day stage and its retrospective development. The research task attempts to trace the genre's retrospective evolution in accordance with the contemporary process and uncover the main modifications within the ensemble genre and its evolution. The methodological framework of the research is founded on conceptual principles of genre theory, the fundamental aspects of systemic-analytical, art-historical, historical, and comparative approaches serving as the methodological basis for studying ensemble genres. The scientific novelty of the obtained results lies in the first-ever attempt in Ukrainian musicology to characterise the main tendencies of the retrospective analysis of piano duets as a potentially prospective genre in the development of contemporary performing arts. Conclusion. A contemporary review of the primary strategies of duet performance in the realm of piano artistry reflects the experiments conducted by academic musicians involved in piano ensembles. Their active creative work aims to explore new forms of artistic communication both among musicians and between the ensemble and its audience, defining the characteristics of modern duet performance. Therefore, the focus on revitalising piano ensemble creativity, especially duet performance, introduces novel approaches to presenting artistic achievements in this field, affirming the relevance of classical art and the significance of piano duets as a unique phenomenon in contemporary culture, particularly concerning the evolution of the music industry.

Keywords: Piano Ensemble; Duo Performance; Retrospective; Genre; Music Industry.

Specificity of Using Phonograms in Popular Music

Mykhailo Uzhynskyi, Oksana Smetana — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the research. This article attempts to characterise the interaction of sound directing practices with popular music during stage performances and concerts. The research methodology employed to address the set objectives consisted of a historical-cultural approach to analyse the development process of digital sound recording formats and innovations in concert touring practices, a philosophical-aesthetic approach when considering the aesthetic principles of the music and sound concept in concert performances, and a method of theoretical generalisation to draw conclusions and justify the specific features of the outlined issues. The scientific novelty of this article lies in being the first in Ukrainian science to substantiate and sequentially describe the work on recording playback phonograms in the studio, as well as their subsequent use together with live performances by artists during a long-anticipated concert tour as a unified music and sound image of the creative ensemble, based on teaching and sound engineering experience. Conclusions. With the development of digital means of artistic expression, the use of phonograms in popular music has gained significant momentum, with the main argument in favour being the "the main focus is the show programme". This, to some extent, justifies artists' performances to pre-recorded playback. Therefore, based on analyzed examples, the specificity of the sound engineer's work with a complex scheme of simultaneous use of phonograms from a player-recorder (HDR) and the sound accompaniment of the creative ensemble during stage performances is elucidated. The issues related to this practice and recommended methods to avoid them are highlighted. It is determined that the concert sound director is a central figure in creating a popular music stage performance. The level of artistic and spectacular event, regardless of the chosen performance format (playback or live performance) of the creative performer/ensemble, depends on their professional skills and practical experience in utilising innovative sound equipment. The use of a full or partial phonogram during a concert, presented to an enthusiastic audience, is a matter of professional ethics and the integrity of the artist(s). Failure to uphold these high components results in complete ruin of the performer's or creative ensemble's stage career. The final choice remains with the artists.

Keywords: sound directing, popular singing, backing vocals, instrumental performance, studio sound recording, phonogram, sound equipment.

Transformational Processes of Pop Music in Contemporary Cultural Space of Ukraine

Natalia Ovsyannikova — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the research is to disclose the essence and directions of transformations in the pop music of Ukraine, identify their influence on the cultural space, and shape the musical identity of the country. The methodology of researching transformation processes in pop music in contemporary Ukrainian cultural space includes the following stages: analysis of theoretical studies ‒ studying scientific literature on the research issues, including domestic and foreign works in musicology, cultural studies, social psychology, and sociology of culture; empirical research ‒ analysing the repertoire of Ukrainian pop performers, their creativity, and audience perception; interpretation of the obtained results, development of conclusions, and recommendations. Methods such as content analysis, comparison, and synthesis were used for analysing theoretical sources. For collecting empirical data, methods like content analysis, sociological surveys, and expert assessment were employed. The scientific novelty of the research lies in the fact that, for the first time, comprehensive investigations have been conducted into the transformative processes of popular music in the contemporary cultural space of Ukraine. The study identifies the main directions of transformation in pop music, analyses their causes, and explores their consequences. Conclusions. The transformation of popular music is a natural process that reflects changes in the cultural space of society. It occurs under the influence of factors such as globalisation and internationalisation of culture, the development of new technologies, and shifts in the social and cultural demands of the audience. The transformative processes in Ukrainian popular music signify continuous development and adaptation to changes in the contemporary cultural landscape. They define new musical trends, shape cultural identity, and contribute to mutual understanding between national and global musical heritages. Research into these processes is essential not only for understanding popular music as a cultural phenomenon but also holds practical significance. Supporting the development of popular music in Ukraine is crucial, fostering the creativity of talented performers and promoting Ukrainian popular music. It is important to closely monitor changes in genre structures, musical technologies, and the social and cultural demands of the audience to react timely and appropriately.

Keywords: pop music, transformation, contemporary cultural space, globalisation, identity.

Features of the Artistic Realisation of the Singer Zoia Gaidai in the Ukrainian Cinema of the Stalin Era (1930-1950s)

Olena Katsalap — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to investigate one of the aspects of the professional activity of the Ukrainian singer Z. Gaidai – participation in filming during the period of Stalinism in the 1930-1950s. Within the framework of the research of the specified problem, to show the specificity and artistic significance of the film material on the singer's work, as well as its importance in the context the creative biography of the performer and cinematographic heritage of Ukraine as a whole. The methodology of the work consists in the application of the source study method to analyse archival documents containing information on Z. Gaidai’s participation in filming, as well as other materials on the topic of research; specific historical method – to determine the influence of socio-political processes of the Stalin era on cultural and artistic life, in particular, on the work of the domestic film industry; bio-bibliographic method – to determine the place of this aspect of the singer's activity in her creative biography; general scientific methods (analysis, synthesis, generalisation) – with the aim of thoroughly studying the issue and forming a reasoned conclusion. The scientific novelty of the article consists in the expansion of information about the creative activity of Z. Gaidai in the 1930-1950s, the study of new aspects of it, in particular those related to participation in filming, in the assessment of the specificity and artistic value of the filmed material, as well as its significance in creative biography of the singer and the history of Ukrainian cinematography. Conclusions. The analysis and assessment of the results of Z. Gaidai’s participation in filmmaking during the Stalinism of the 1930-1950s made it possible to reveal the degree of interest of cinematographers in the personality of the singer and her desire to further popularise her work and leave a mark in cinema. However, the totalitarian Stalin era influenced the course of the filming process, determined the specificity of the content and essence of the material offered to the singer and, as a result, its somewhat dubious artistic value, in particular in the context of the domestic film heritage. The "Shelved" concert film "Ukrainian Melodies" generally put an end to the short film career of Z. Gaidai, which prevented her from fully realising herself as a film actress and forced her to focus exclusively on vocal and creative activities.

Keywords: Zoia Gaidai, cinematography of the Stalinism period of the 1930-1950s, film "Natalka Poltavka", Ukrkinokhronika, concert film "Ukrainian Melodies".

Bohdan Antkiv's Contribution to the Development of Musical Art of Galicia in the Second Half of the Twentieth Century

Mariia Kyreia — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the work is to systematise and give a comprehensive assessment of the musicological and compositional heritage of Bohdan Antkiv, his cultural and educational, musical activities in the context of the processes of professionalisation of Ukrainian musical art of Galicia in the second half of the twentieth century. The methodology of the research is to apply the following methodological approaches: analytical, systemic, historical and musical. Scientific novelty of the work. For the first time a thorough analysis of the musical activity of Bohdan Antkiv was carried out, the contribution of the artist to the musical art of Galicia of the second half of the twentieth century was characterised. Conclusions. Bohdan Antkiv is a music artist who crosses the line of amateurism and achieves success and recognition in professional music art Ternopil and Lviv regions. He participated in rural amateur groups and circles in early years, led by his father, Mykhailo Antkiv. The musician obtained a professional music education, studying at conducting courses at the Ternopil branch of Mykola Lysenko Lviv Music Higher Institute, and later at the Conducting Faculty of Mykola Lysenko Lviv State Conservatory. He successful conducted activities in the children’s choir of the society ‘Prosvita’ local unit, in the singing and music society ‘Torban’, in the choir of the T. Shevchenko youth organisation ‘Sokoliata’, in the mixed choir of Ostriv village, which won the Regional Choir Competition in Lviv, in the choir group of the song and dance youth ensemble ‘Cheremosh’, which acted at I. Franko Lviv State University. Bohdan Antkiv also started a brass band in Ostriv village. The article also traces composer and arranging activities.

Keywords: Bohdan Antkiv, musician, conductor, choirmaster, composer, musical art, Ternopil, Lviv.

SEMANTICS OF TARAS SHEVCHENKO’S POETRY IN MUSICAL INTERPRETATIONS OF MODERN PERFORMERS

Viktoriia Padalko — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to demonstrate the process of transformation of semantic paradigm of musical interpretations of Taras Shevchenko’s poetry in the context of the Russian-Ukrainian war. The methodology of research combines general scientific methods with specific methods of musicology and literature. The use of historical and comparative methods, together with analytical method, made it possible to conduct a multidimensional analysis to identify the features of modern musical interpretations of Taras Shevchenko’s poetry through the prism of socio-political transformations and to determine changes in them compared to previous interpretations. Scientific novelty. The analysis of musical versions of Kobzar’s poetry in the context of the Russian-Ukrainian war was carried out for the first time. Moreover, new and previously unanalysed song compositions have been added to the research related to musical Shevchenkiana. Conclusions. The creative heritage of the classics has always been a kind of tuning fork for the Ukrainian cultural space. Through the prism of the attitude towards it, it is possible to track both the internal transformations of the artists' creative worldview and the reflection of external challenges the whole country face. Тhe research demonstrates the transformation of semantics of the poetry of Taras Shevchenko in modern performers’ musical interpretations. It reveals not only changes, but also the process which explains why such changes appeared. The work also describes how interpretations expand the paradigm of meanings not only during their creation, but also in diachrony – after a certain time, when the socio-political context changes, thus the phenomenon of "interpretation of interpretations" appears. Through updating the semantics of Taras Shevchenko’s poetry by modern performers, a kind of intergenerational dialogue is formed. This leads to demonstration of spatio-temporal connections, which, through modern media resources, present Ukraine as a country with its own centuries-old history and unique, original culture.

Keywords: musical interpretations of poetry, Ukrainian composers and performers, synthesis of music and literature, Ukrainian culture, vocal music, musical interpretation, Ukrainian poets, musical Shevchenkiana, pop studies.

Ideology of Sarmatism and its Implementation in Polish Piano Music of the XIX – XX Centuries

Nataliia Petrovska — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the study is to identify the genre-stylistic specificity of the reproduction of the spiritual and ethical instructions of Sarmatism in Polish piano music of the XIX-XX centuries. The research methodology is based on the application of the following approaches: genre-stylistic, etymological, interdisciplinary, historical-cultural, which reveal the peculiarities of the reproduction of Sarmatian ideology in Polish piano music of the specified period. The scientific novelty of the article is determined by its analytical perspective, which takes into account the peculiarities of the reproduction of the Polish "Sarmatian" image of the world Polish piano (dance) music of the XIX-XX centuries. Conclusions. The Polish national "image of the world", which was historically formed on the basis of the noble ("Sarmatian") spiritual and ethical tradition, formed in the heyday of the Polish-Lithuanian Commonwealth, and appealed to such dominant qualities as pride, honour, knightly service, honouring the merits of the family, family patriarchal values and traditions in their high spiritual and religious sense, in many ways determined the specifics of Polish culture and the genre and style preferences of its musical art, focused on revealing the special significance of the song and dance tradition in its salon representation. The poetics of polonaise, mazurka, Krakowiak, thought and other genres related to it, corresponding to the spiritual and patriarchal traditions of Biedermeier in its Polish guise (“Warsaw Biedermeier”, “noble Biedermeier”), also determined the historical and evolutionary paths of development of Polish piano music of the 19th and early 20th centuries (F. Chopin, Z. Noskovskyi, V. Malyshevskyi, M. Karlovych, M. Zavadskyi, K. Szymanovskyi, L. Rogovskyi, A. Panufnik) and reproduction of the national "noble-Sarmatian" quality in it.

Keywords: Sarmatism, Polish culture and music, noble Biedermeier, polonaise, mazurka, kujaviak, krakowiak.

Production Agencies and Music Festivals as Factors of Stylistic Renewal of Ukrainian Pop Songs of the 1990s

Yana Podunay — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the research. The study characterises the activities of production agencies and music festivals as factors in the stylistic renewal of Ukrainian pop songs in the 1990s. The research methodology consists in the use of historical-cultural, systemic, and musical-analytical methods and approaches, which made it possible to determine the importance of production agencies and music festivals in the formation of the soundscape of the Ukrainian pop music in the 1990s. The scientific novelty of the work lies in the fact that for the first time the activities of production agencies and music festivals were characterised as factors in the formation of the style of Ukrainian pop music in the 1990s. Conclusions. In the 1990s, there was a reorientation of Ukrainian pop music from the Soviet to the Western organisational model, in which production agencies played an important role, and the festival movement received a pronounced promotional function. Popular music, with the support of production agencies and the festival movement, during this period becomes an important factor in the Ukrainisation of society thanks to stylistically relevant Ukrainian-language song content. The most organic combination of promotional-commercial and national-educational components was in the activities of the production agency “Territory A” and the festival “Red Rue”. Thanks to the Western organisational model and the Ukrainian-centric approach, the Ukrainian-language pop song of the 1990s was represented by all musical styles (pop music, rock, rap, folk, bard song) and was distinguished by stylistic pluralism, which responded to current trends in world popular music and at the same time took into account pop songs previous years.

Keywords: popular music, Ukrainian pop song of the 1990s, production agency “Territory A”, popular music festival “Red Rue”, musical style.

Modern Technologies for Creating Film Music Content

Oleksandr Soshalskyi — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to provide a scientific substantiation of the interconnection and interdependence of modern compositional and computer technologies as integrative components of the process of creating film music content. The methodology of research is based on an integrative approach in substantiating the process under study, methods of analysis, specification, synthesis, and generalisation. The scientific novelty of the obtained results. The creation of the musical content of a film work is considered as an integrative process that provides: 1. The combination and interpenetration of compositional techniques with musical computer technologies, carried out by one specialist and aimed at creating high-quality musical content for a film work. 2. Constructing the musical material in interconnection with the overall drama and visuals of the film, which meets modern criteria for semantic content and sound quality (its technical and artistic-aesthetic characteristics). Conclusions: 1. The creation of film music content is an integrative process that organically combines musical, creative, and technological components. 2. Musical and creative work on the film soundtrack consists in mastering the compositional technique that ensures the creation of original author's music, compilation and arrangement of the necessary musical material in accordance with the general concept and drama of the film. 3. Modern music computer technology is a necessary tool for film music scoring, the use of which ensures the creation of digital soundtracks, arrangements and original compositions, facilitates the process of creating and adjusting the score in real time, makes it possible to imitate various musical styles.

Keywords: film music content, film composer, composing technique, music computer technology, integrative approach.

Serenata as a Musical-Dramatic Work “on Occasion”: Historical Path and Genre Specificity

Olga Tabulina — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the research. The study reveals the specific features of the serenata as a musical-dramatic work “on occasion” and its historical path. The methodology is based on a combination of a historical-cultural approach and an analytical method, which made it possible to show the serenata genre in its historical dynamics and to clarify the features of the libretto and music. The scientific novelty of the work lies in the fact that for the first time the serenata was characterised as a musical-dramatic work “on occasion”, which existed in the European cultural space from the middle of the 17th to the end of the 18th century, in genre categories and the main milestones of its historical path were highlighted. Conclusions. The history of serenata begins in the middle of the 17th century and ends at the turn of the 18^th – 19th centuries. Leading composers of the Baroque era (G. B. Bononcini, A. Vivaldi, A. Scarlatti, A. Stradella) and classicism (K. W. Gluck, J. Haydn, W. A. Mozart, and others) turned to this genre. In manuscripts, musical-theatrical works “on occasion” of the 17th–18th centuries had different names, but the most semantically loaded is the serenata. Serenata has many similarities with cantata and opera, but its specificity allows us to consider serenata as a separate genre. The genre-creative features of the serenata are writing “on occasion”; allegorical libretto as a tool for glorifying the customer; the final recitative or a separately written part (“licenza”), which contains the glorification of the addressee; performance in a private “closed” space; plot, but without developed dramatic action; use of scenery and costumes; expanded, in contrast to the cantata, structure and performing composition.

Keywords: baroque, classicism, serenata as a musical-dramatic work “on occasion”, aristocratic milieu, opera, cantata, musical genre, libretto.

Neo-Riemannian Analysis in the System of Theoretical Views of Richard Cohn

Nadiia Ustyuzhanina — Thu, 21 Dec 2023 00:00:00 +0200

The purpose of the article is to highlight the main principles of the Neo-Riemannian method of analysis in the system of Richard Cohn’s theoretical views. The methodological basis of the work is a structural analysis and a special Neo-Riemannian method of pitch structure analysis, which consists of a set of analytical procedures aimed at identifying and graphically highlighting triadic transformations and projecting harmonic objects onto the hexatonic system of co-cycles with a description of the relationships between them. The scientific novelty of the article consists in bringing into Ukrainian musicology the methods of analysis of pitch structures proposed by the North American theorist R. Cohn, the presentation of the main works and theoretical innovations of the researcher. Conclusions. The Neo-Riemannian theory of the analysis of triadic pitch structures is one of the leading contemporary concepts developed by North American musicology on the basis of a neo-positivist approach. The theory is based on the idea of transforming a sound object (triad), which was laid down in the works of the German theorist Hugo Riemann. This idea was continued in the researches of the first Neo-Riemannian theorists – D. Lewin and B. Hyer – primarily in the form of three triadic transformations, designated as Neo-Riemannian Operations. The Neo-Riemannian approach offers an understanding of the triad as a structural unit, demonstrating the expediency of its use both in works with late romantic harmony and outside the context of tonal music, where the triad exhausts its potential as an element of functional harmony. The consideration of individual provisions of the Neo-Riemannian method in the works by R. Cohn (among them voice-leading parsimony, the hexatonic system, combined transformations) made it possible to see the technological possibilities of the method, which contribute to the understanding of the interrelationship of triads without focusing on the tonal-functional connection of chords and the central element of pitches systems.

Keywords: Neo-Riemannian theory of analysis of triadic pitch structures, triadic transformations, voice-leading parsimony, hexatonic system, combined transformations, Richard Cohn’s theoretical system.