NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD

Dance on the Modern Concert Stage: Interactivity and Digital Technologies as Factors of Transformation of Choreographic Forms

Olesya Vakulenko — 2025-11-25

The purpose of the article is to investigate the specifics of the functioning of dance on the modern concert stage as an interactive means of artistic communication, to analyse its role in forming the dramatic structure of the concert action, and to clarify the influence of innovative technologies on the transformation of choreographic forms. Research methodology. The structural-functional method was applied, which allowed us to assess the role of dance in creating a holistic concert performance. The comparative method was used to compare traditional and modern forms of dance, technological innovations and interactive practices on the concert stage. The cognitive method made it possible to determine the impact of dance on the modern audience. The content analysis method was used to identify forms of interactivity, technological innovations and the synthesis of arts. The synthesis and generalisation method was used to determine the role of dance on the modern concert stage in the synthesis of interactivity and digital technologies. Scientific novelty lies in identifying the features of the functioning of dance on the concert stage as an interactive phenomenon that combines traditional choreographic forms with multimedia technologies. For the first time, attention is focused on the role of interactivity as a factor that transforms the nature of interaction between the performer and the audience, creating a new type of concert and stage space that combines artistic expressiveness and digital innovations. Conclusions. Dance in the modern concert stage acts as a key means of non-verbal communication, capable of transmitting emotional and ideological meanings. The interactivity of the numbers activates the participation of the viewer, stimulates cognitive and emotional perception, and the use of multimedia and digital technologies increases artistic expressiveness and the effect of immersion. Thus, the combination of traditional choreography and innovative means substantiates the role of dance as a universal tool of cultural communication and the development of the modern concert stage.

Modern Dimensions of Folk-Stage Choreography: Dialogue of Cultural Traditions and Digital Innovations

Iryna Hertz — 2025-11-25

The purpose of the article is to identify promising options for using digital technologies in folk-stage dance in the context of the issues of the dialogue of traditions and innovations in choreographic art. Research methodology. The method of theoretical analysis, the method of analysis and synthesis, the typological method, the method of comparative analysis were applied. Scientific novelty. The issues of integrating innovative digital technologies into the productions of folk-stage choreography were investigated in the context of the features of combining traditions and innovations in choreographic art; the features of the influence of innovative technologies (new media, augmented reality, artificial intelligence) in the process of preserving Ukrainian dance culture and popularising folk-stage dance were identified; promising options for using digital technologies in the process of choreographic activity were proposed. Conclusions. At the current stage of the development of choreographic art, choreographic activity must find the necessary balance between traditional vocabulary, techniques formed in the process of formation and development of folk stage dance, and modern cultural narratives, integrating innovative elements and digital technologies in order to create bright, deep meaning and ideological content of choreographic compositions that meet the needs of the 21st century audience. In the process of studying the relationship between cultural heritage and innovations in folk stage dance productions, it was found that new media technologies provide technical support for folk stage choreography, stimulating changes in distribution, inheritance, creation, teaching, and aesthetics. By manipulating digital elements such as lighting, textures, and spatial dimensions, choreographers can create captivating environments that transport viewers to fantastic worlds or evoke powerful emotions. The interactive nature of performances with augmented reality, artificial intelligence further engages the audience, inviting them to become active participants in the artistic narrative. Overall, innovative digital technologies enrich the potential of dance in storytelling, allowing performers to convey complex narratives and evoke deep emotional responses through visually stunning and immersive experiences. As folk-stage dance continues to evolve as a form of visual storytelling, augmented reality, artificial intelligence, and other innovative digital tools offer limitless opportunities for artistic innovation and expression.

Implementation of Modern Technologies in the Process of Creating Theatre Shows and Performances in the Stage Space of Ukraine and Abroad

Serhiy Gordeyev — 2025-11-25

The purpose of the article is to identify the features of digital technologies as innovative directorial tools in the productions of modern Ukrainian and foreign theatre. Research methodology. The analytical method and the method of theoretical analysis were applied to study the scientific literature on the topic of the study; the typological and structural-functional method, thanks to which the varieties and features of digital directorial tools were clarified; the method of comparative analysis – to compare the level of integration of innovative technologies in European and Ukrainian theatre. Scientific novelty. The issues of integrating innovative technologies into modern theatre as a means of implementing the director’s plan are considered; the features of introducing digital technologies into the process of creating theatrical performances and performances are outlined; based on comparative analysis, a number of technologies used in the productions of modern Ukrainian and European directors are identified. Conclusions. Technical innovations are an integral part of the evolution of the theatre. The results of the study revealed that at the current stage of the development of theatrical art, the introduction of innovative digital technologies into the process of creating plays and performances is not only an effective means of attracting the viewer’s attention, providing an opportunity to gain new experience, but also an effective tool that contributes to the implementation of the director’s idea of the production. Various photo and video projections, sound and lighting effects, multimedia decorations, computer effects, online filming, demonstration of photo and video documents, virtual props, installations, 3D effects, etc. in addition to enhancing the visual range and creating a bright stage design, provide an opportunity to reveal the emotional state and internal experiences of the character; to increase attention to the moments necessary for the director; to create bright and metaphorical images full of deep philosophical content; shift the emphasis to those aspects of the play that have so far remained insufficiently covered in theatrical practice. The use of digital tools by Ukrainian directors is mostly limited to video projections, while on the stages of European theatres it tends to virtual reality, motion capture technologies.

Director’s Toolkit of Modern Sports and Stadium Performances

Mykola Krypchuk — 2025-11-25

The purpose of the article is to identify the features of the production of sports and stadium mass theatrical performances at the current stage of development of the socio-cultural space and to outline the leading trends in the holding of sports mega-event ceremonies in the context of the specifics of the problems of expanding the director’s tools. Research methodology. The systematic and typological method, the method of analysis and synthesis, the method of art history and comparative analysis were applied. Scientific novelty. The problems of updating approaches to the production of sports and stadium spectacles are considered using the example of the opening ceremony of the 2024 Olympic Games (director Th. Jolly) and the ceremony of transferring the Olympic flag between the Olympic Games in Beijing and the Olympics in Milan-Cortina 2026 (director M. Balich); the concept of the ceremonies of the Olympic Games in Milan-Cortina 2026 by director M. Balich is analysed; the leading trends in modern directing of sports and stadium mass theatrical spectacles are identified. Conclusions. The study revealed that at the current stage of development of the socio-cultural space, the main sources of directorial concepts for sports and stadium mass theatrical performances are the audience’s requests for dynamic, bright, inclusive productions full of new unexpected solutions and the use of innovative digital technologies. Based on the analysis of the opening ceremony of the 2024 Olympic Games in Paris (director Th. Jolly), the Olympic flag handover ceremony between the Beijing Olympic Games and the 2026 Milan-Cortinia Olympics (director M. Balich) and the concept of mass theatrical spectacles of the 2026 Milan-Cortinia Olympic Games, it was found that the main emphasis of the directors was on innovative approaches to the visualisation of the main postulates of the Games, a careful attitude to traditions, the representation of the national identity of the host country, the popularisation of sustainable development, diversity and inclusion. The expansion of the director’s tools is due to the integration of innovative digital technologies that make it possible to create unique immersive environments, enhance the sense of participation, convey the emotions of athletes. Among the characteristic techniques: changing traditional places and forms of holding ceremonies; the use of urban space as a key scenographic background of theatrical spectacle, which is a translator of cultural identity; an appeal to eclecticism and stylisation; the use of immersive and interactive technologies, as well as lighting and video design.

Theatre and Variety Laughter as a Cultural and Aesthetic Phenomenon: Traditions, Functional Dimensions and Transformations in the Conditions of Modern Social Challenges

Myroslava Melnyk — 2025-11-25

The purpose of the article is to study how theatrical and stage comedy works as both art and a social tool, what they have in common and what makes them different, and how humour helps shape cultural identity, encourage critical thinking, and give emotional support in the context of Ukrainian theatre traditions and today’s social and cultural challenges. Research methodology. The study employs cultural and art criticism analysis, which makes it possible to examine humour as a phenomenon of theatrical and stage art within the context of national and global cultural processes. The comparative method is used to identify both the common and distinctive features of theatrical and stage humour, particularly their artistic and communicative strategies. The sociocultural approach enables an assessment of the impact of humour on social processes, especially under conditions of war and cultural resistance. Finally, structural-functional analysis allows for the disclosure of the multidimensional nature and functions of humour. Scientific novelty. The study offers a comprehensive analysis of humour as a form of realising the comic and as a phenomenon of laughter in theatrical and stage arts, emphasising its multidimensional functions. Particular attention is devoted to the Ukrainian tradition of theatrical and stage humour in the context of contemporary sociocultural transformations, including martial conditions and cultural resistance. The research also identifies and proposes the common and distinctive features of theatrical and stage laughter, along with their specific artistic and communicative strategies. Conclusions. Humour in theatrical and stage arts emerges as a form of realizing the comic. It not only provides the audience with moments of laughter but also creates a space for critical reflection on reality, combining critique with compassion, satire with empathy. Thus, theatrical and stage laughter appear as multifunctional expressions of the comic that integrate aesthetic, social, and therapeutic dimensions. In the current context of war and cultural resistance, humour acquires particular significance as a means of preserving identity and national spirit, while its adaptation to the digital environment broadens its scope of influence and underscores its role within the global cultural discourse.

Texture and Movement: innovative forms of nonverbal stage expression

Mykola Tsapiak — 2025-11-25

The purpose of the article is to analyse the specific features of animating texture through movement and bodily interaction. Research methodology employs an interdisciplinary approach that integrates methods from theatre studies, choreology, performance studies to investigate contemporary puppet theatre. Scientific novelty reveals the role of texture as a stage co-performer, capable of transforming through bodily interaction with the actor within the framework of the puppet theatre performance; highlighting three types of interaction between the actor’s body and matter: as an extension of movement, as an object of animation, as a subject of scenic presence. Conclusions. The performative strategies analyse of contemporary puppet theatre reveals a gradual shift in emphasis from the traditional dramaturgical model of theatrical performance to the dominance of bodily expression, visual imagery, and the material presence of the object. Such a transformation is due to both general evolution of theatrical language and the specificity of metamodernist aesthetic paradigms that gravitate towards synthesis, multilayering, and oscillation between opposing artistic attitudes. Puppet theatre, situated at the crossroads of performative practices, demonstrates a unique capacity for the innovative rethinking the roles of the actor, object, and movement. Based on the analysis of Ukrainian and European performances, three key models of interaction between the corporeal and material have been identified: texture as an extension of the movement, texture as an animated object, texture as an autonomous stage entity. In the first case, the material enhances a bodily gesture, visualises the actor’s internal stage, or creates the stage atmosphere; in the second – it takes on the characteristics of the character endowed with semantic expressiveness; in the third – it emerges as a full-fledged co-participant in the action, not subordinate to the performer’s will, but capable of generating new meanings through its very presence. Thus, modern puppet theatre expands the traditional boundaries of interpreting stage action, where movement, texture, and space function not as secondary elements of staging but as carries of meaning, collectively forming the holistic canvas of the performance.

Emergent Theatricality: Transformation of the Prometheus Archetype in Post-Secular Ukrainian Theatre

Volodymyr Horyslavets — 2025-11-25

The purpose of the work is to conceptualise emergent theatricality as a new paradigm of Ukrainian theatre through analysing the transformation of theatrical subjectivity from the Prometheus archetype through the philosopher-clown figure to the quantum performer, and to determine conditions for the possible consolidation of emergent processes in a post-secular context. Research methodology. An interdisciplinary approach was applied, synthesising culturological analysis, theatre studies, and philosophical reflection. The comparative method was used to juxtapose historical stages of theatrical transformations, a phenomenological approach to analyse theatrical presence, and conceptual analysis of post-secular theories. The theoretical foundation includes N. Korniienko’s works on the quantum paradigm of theatre, H. U. Gumbrecht’s concept of presence, G. Vattimo’s post-metaphysical philosophy, and K. Wilber’s integral theory. Scientific novelty. The concept of emergent theatricality is proposed as a culturological category for understanding contemporary theatrical processes. The notion of ‘quantum performer’ is introduced to denote a new type of theatrical subject. An attempt is made to analyse unconsolidated theatrical innovations in Ukrainian theatre (L. Kurbas, A. Zholdak, O. Seredyn) through the lens of diffusion of innovations theory and the concept of PH-fantasy. The role of post-secular religiosity as an instrument of theatrical emergence is substantiated. Conclusions. Emergent theatricality appears as a possible paradigm synthesizing the quantum approach with post-metaphysical spirituality in movement toward cosmocentric consciousness. Analysis of historical precedents revealed the necessity of convergence of technological, psychological, and cultural readiness for successful theatrical innovations. Contemporary Ukrainian theatre is at a bifurcation point where war, digital culture, and post-secular theories create a unique window of opportunity for an emergent leap.

Lighting Design in Figital Space of Modern Stage Performance

Volodymyr Fisher — 2025-11-25

The purpose of the article is to consider the features of the use of lighting design in musical mass events through the prism of the specifics of the figital space of a modern stage performance. Research methodology. The method of scientific analysis, the method of comparative analysis, art history analysis and theoretical generalisation were applied. Scientific novelty. For the first time in domestic art history, the issues of lighting design of musical mass events were considered in the context of the specifics of the figital space of modern stage spectacle; characteristic techniques of lighting design of musical mass events of the first half of the 2020s were outlined. Conclusions. The dialogism of sound and light sharpens the viewer’s perception and forces them to resonate with music on an emotional level. In the figital space of a musical mass event, lighting design is a tool that allows not only to accurately control the visual series, highlight key moments, direct the viewer’s attention and enhance the emotional impact, but also to create a sense of immersion and interaction. The use of music visualisation techniques (laser beams, flashes of light synchronised with music and colour change) contribute to the viewer’s complete emotional immersion and allow us to consider lighting design as a continuation of the stage spectacle. Typical techniques of lighting design for musical mass events that allow directors to create a vivid spectacle are: synchronisation of music and lighting; use of mobile devices for remote control of lighting equipment by the artist, mobile applications and LED-decorated armbands, interactive projections; placement of lighting devices behind screens.

New Cultural Practices as an Instrument of National Identity Formation under Wartime

Serhii Vytkalov — 2025-09-25

The purpose of the research is to analyse new cultural practices as a mechanism for the formation of national unity in wartime, as well as to identify their sociocultural functions and impact on the collective identity of Ukrainians. The research methodology is based on an interdisciplinary approach that combines the provisions of cultural studies, sociology of culture, communication theory and modern memory studies. Such a methodological combination allowed the authors to comprehensively understand cultural practices not only as manifestations of creative activity, but also as socio-communicative mechanisms that ensure the stability and unity of the Ukrainian society. Scientific novelty. The scientific novelty lies in the comprehensive analysis of cultural practices during the war as a factor of national unity, which combines aesthetic, communicative, social and ethical dimensions, as well as in identifying new types of cultural practices that emerged in wartime: volunteer, memorial-therapeutic, symbolic-brand, memno-digital. Conclusions. During wartime, cultural practices acquire special importance, they become a means of symbolic resistance, self-identification, and affirmation of cultural subjectivity. It is through culture that a new quality of national unity is formed, based on common values, memory, and symbols. In wartime, these practices perform an integration, communicative, mobilising, symbolic and therapeutic function, contributing to the consolidation of society and the comprehension of the experience of war. New forms of community combine art, civic activity, and psychological support. Artistic activism, volunteerism, memorial projects, digital culture, and symbolic campaigns affirm the image of Ukraine as strong, open, and worthy. Strengthening the role of language, the development of meme culture, art volunteering and the honouring of heroes have become manifestations of cultural mobilisation. Such practices preserve cultural continuity and create a new identity – a synthesis of the traditional and the modern, the local, and the global. In the context of war, culture becomes a resource of social resilience: through it, Ukrainians experience trauma, affirm solidarity, and form a humanistic paradigm of unity based on freedom, dignity, and creativity.

"Princes of Ostroh: European Dimension of Ukrainian History" Exhibition as a Means OF Popularising Cultural Heritage and National Identity

Viktoriia Dobrovolska — 2025-09-25

The purpose of the article is to highlight the significance of the ‘Princes of Ostroh: The European Dimension of Ukrainian History’ exhibition as a cultural and educational project aimed at popularising Ukrainian heritage, forming national identity, and integrating Ukrainian history into the European cultural context. Research methodology. The methodological basis is the principles of historical research, cultural studies, and museology, which allow for a systematic assessment of the significance of the exhibition in presenting national heritage and its integration into the European cultural context. Scientific novelty. The concept and structure of the exhibition and the features of the presentation of exhibition materials are analysed. The educational potential of the exhibition, its influence on the formation of national identity and its significance for intercultural dialogue are determined. The historical role of the Ostroh princes in the development of the political, spiritual, and cultural life of Ukraine and Eastern Europe is clarified, their contribution to the formation of education and book printing is outlined. Special attention is paid to the role of exhibition projects as tools of cultural diplomacy that contribute to the preservation of historical memory and the formation of a positive image of Ukraine in the world cultural space. Conclusions. The ‘Princes of Ostroh: The European Dimension of Ukrainian History’ exhibition is an example of effective museum practice, which combines scientific value, cultural representativeness and educational function, and is also of strategic importance for the development of national museum work. The exhibition is also an example of cultural diplomacy, contributing to the strengthening of cultural ties between Ukraine and other European countries. It opens up new opportunities for intercultural dialogue and cultural integration, contributing to the formation of a positive image of Ukraine in the world cultural space.

At the Moment of Civilisational Transgression: Theoretical and Methodological Preliminaries Purpose

Serhii Rudenko — 2025-09-25

The purpose of the study is to define a theoretical and methodological framework for foresight research on civilisational development in the coming decades. Research methodology. The research is based on interdisciplinary, scientifically critical, skeptical-empirical, and contamination approaches. These make it possible to integrate mental models from various scientific disciplines, domains of knowledge, and practical activities into the scientific field. The next stage of the study is deconstruction. It involves strengthening systemic afferentation by disrupting habitual conceptual connections and transducing their theoretical-hypothetical elements into unfamiliar contexts. (Re)(de)contextualization of existing methodological approaches to forecasting and designing historical-cultural and sociocultural development has made it possible to discover new cognitive links and to carry out their bricolage. The method of thought experiment is applied to record the state of "reaching a plateau" within a particular sociocultural domain. As a result of applying the outlined methods, a new theoretical and methodological framework is formed.. Scientific novelty. The response to technological singularity is the emergence of the metaverse – a transition beyond the plateau of civilisational development. Its key component, metaculturology, acts as a system for regulating entropy in cultural and socio-cultural processes. Conclusions. Two factors of civilisational transgression are identified: the autonomisation of the technosphere with uncontrolled entropy; the increasing probability of barbarism, manifested as the global, aggressive export of entropy. When demographic growth ceases to be dominant, the future of civilisation will depend on the metaculturological domain. The metaculturological triad includes cultural representations (software), heritage embodiments (hardware), and metaphor as the methodological programming language. The heritage-retrospective approach implies a permanent reinterpretation of cultural heritage through the collision of future, present, and past contexts. Further research should explore transformations of the logos of culture within the cultural-historical process. The general structure of civilisational evolution integrates theology – technology – metaculturology as its triadic framework, providing the basis for socio-cultural design of future development.

Interdisciplinary Vectors of Folkloristics in the First Quarter of the 21st Century: Forms and Functions of Folklore in the Digital Age

Svitlana Sadovenko — 2025-09-25

The purpose of the study is to reveal the forms and functions of folklore in the context of interdisciplinary vectors of folkloristics in the first quarter of the 21st century and to highlight the mechanisms of preserving and acquiring new qualities of tradition in the process of cultural transmission. Methodology. The theoretical basis consists of contemporary concepts of semiotics, ethnolinguistics, cognitive and philosophical anthropology, axiological hermeneutics, social psychology, and media anthropology. The use of axiological, historical-analytical, and systemic approaches ensured the functional, communicative, anthropological, and contextual analysis of folklore in the context of digitalisation and intermedial interaction. The scientific novelty lies in the identification and interpretation of new forms and functions of folklore in the digital environment and the clarification of the current interdisciplinary vectors of folklore studies in the first quarter of the 21st century. Folklore is understood as an open system of cultural meanings, a semiotic resource capable of intermedial interaction, creative rethinking, and the generation of new meanings, as well as a ‘social technology’ of collective memory and local identity. An analytical model of folklore as a dynamic instrument of cultural communication is proposed. The concept of ‘soft traditionalism’ is understood as a strategy for maintaining a connection with folk tradition in modern conditions. Conclusions. Folklore studies in the first quarter of the 21st century function as a comprehensive field of humanities knowledge that integrates cognitive, axiological, communicative, anthropological, and aesthetic approaches. Folklore appears as an open system of cultural meanings and a semiotic resource capable of intermedial interaction, creative rethinking, and the generation of new meanings. Despite changing social paradigms, it remains relevant and demonstrates adaptability in the digital age, forming new communicative models and mechanisms of collective cultural memory and identification.

Value Structure of the Act of Artistic Creativity

Valeriy Sivers — 2025-09-25

The purpose of the article is to explain the mechanism of the creative act from the point of view of applying the methodology of the value coordinate approach, which has, in our opinion, significant heuristic potential. The research methodology is based on the concept of the value coordinate approach. For the basic distinction of the above-mentioned concepts and the structuring of value energy, moral-psychological and philosophical-anthropological (culturological) approaches were used that explain the motives of human activity. In this context, the edge of the value-phenomenological consideration is directed, first into the realm of the subconscious, and then further — outlined as a source of creativity that encourages creation. The scientific novelty of the study lies in the for the first time, the structuring of the value meanings of the actions of the act of artistic creativity was carried out from the position of the author’s concept of the research methodology. The author proposed new categories of phenomenology in the focus of philosophical thought, where ‘virtax’ corresponds to the concept of ‘noema’, and ‘visax’ corresponds to the concept of ‘noesis’. Conclusions. As a result of the conducted research, it was proved that the application of the methodology of the value coordinate approach allows for the structuring of value meanings that correspond to the set of actions of the act of artistic creativity. It was found that due to the introduction of the concept of value energy, the possibility of assimilating the reproduced codes of culture arises, which allows a person to enter its context and feel like a part of it. At the same time, the probability of its constant filtering, enrichment and destruction increases, which ultimately appears in the set of actions of its elements – personalities – as the process of its creation. In the unity of the action of these contradictory sides of one value energy ‘creative impulse’ with the use of form-forming material in the form of initial images of consciousness, the creation of history takes place in all types of activity, which in their totality form the field of realisation of creativity.

Digitalisation of Theatre as a Remedy for Preserving Cultural Heritage

Svitlana Sobolievska — 2025-09-25

The purpose of the article is to identify the peculiarities of the digitalisation of theatre art during its transformations caused by the Covid-19 pandemic and the full-scale Russian invasion, in order to further preserve its achievements as an important part of Ukraine’s cultural heritage. The research methodology. In order to determine the role of digitalisation of theatrical art in preserving it as part of the cultural heritage of Ukraine, a systematic approach is used with the use of analytical, comparative, and cultural studies methods. The scientific novelty. The usage of digital technologies as a means of preserving cultural heritage in Ukraine, namely works of theatre art, is being studied for the first time. This topic has become especially important due to the Covid-19 pandemic and the Russian-Ukrainian war. Conclusions. The digitalisation of Ukrainian theatre art is becoming an important means of preserving and popularising theatre as a significant component of the nation’s cultural heritage. Thanks to the examples of digitalised archiving and recording of the theatre process in other countries, similar projects have been successfully implemented by Ukrainian specialists. Today, the online space provides access to digital performances and achievements of Ukrainian theatre, virtual galleries of museums and archive of theatre art for scholars and researchers of theatre art, as well as for theatregoers and connoisseurs. Therefore, the use of digital technologies in theatre art has a powerful potential for preserving it as part of the cultural heritage and for passing on information about Ukrainian theatre to future generations.

Cultural Dimension of Modernity

Mykola Fedorenko — 2025-09-25

The purpose of the work is to study the cultural foundations of modernity. The methodology of the work is based on a combination of historical and logical approach to study the socio-cultural factors of the era, genetic approach to clarify the evolution of the ideological prerequisites for the formation of the worldview of modernity, and contextual and analytical approach to study the conceptual markers that embody the paradigmatic features of the modern era. Scientific novelty. For the first time, the author identifies, systematises, and analyses the socio-cultural factors that determined the peculiarities of the formation of the modern era. associated with the culture of court society, with the mechanisms of control over affects and drives developed by it. Conclusions. The article outlines the subject area of culture as an artificial environment of human existence created by specific human activity, which includes both the person and the world of symbolic meanings. It is pointed out that the culture of modernity in the process of its formation creates preconditions for the final emancipation of the human personality. It is emphasised that the focus on the individual, in turn, increases the role and importance of rational activity as a way of internalising generally significant cultural forms into the inner world of a person. The specifics of the modern worldview, the fundamental features of which are embodied in ‘exclusive humanism’, accompanied by a new sense of ‘I’, are pointed out. The author emphasises the concept of civility as efficiency, which covered the spheres of moral self-control, taste, and sophistication. The special role of neo-Stoicism ethics in shaping the worldview of a modern person is emphasised. On the example of Norbert Elias’s scientific work, the author demonstrates the peculiarities of the mentality of the court aristocracy; just as the modern state is the heir to an absolute monarchy, so Western European ‘civilization’ and rationality are genetically linked to the culture of court society, with the mechanisms of control over affects and drives developed by it.

The Impact of the Revolution of Dignity on Transformation of the National Cultural Values of Ukrainians

Tetiana Filina — 2025-09-25

The purpose of the article is to consider the impact of The Revolution of Dignity on the transformation of national cultural values of Ukrainians. The methodology of this research involves interdisciplinary methods such as historical, that describes the reasons and the consequences of The Revolution of Dignity in chronological order; analytic, that allows to study the transformation of the national cultural values of Ukrainians; semiotic, that was employed to analyse new national symbols; method of synthesis used to sum up the results of the research. Scientific novelty lies in comprehension of the role of The Revolution of Dignity in the transformation of national cultural values of Ukrainians. Conclusions. The Revolution of Dignity transformed the national cultural values of Ukrainians providing the adaptation to the new historical conditions. The revolution provoked the formation of political identity of Ukrainians that sharpened the sense of responsibility and intensified civil activity. Realisation of cultural self-sufficiency resulted in reinterpretation of national memory, national culture and art development and strengthening the position of the Ukrainian language. The understanding of patriotism has changed. Now it is determined by common choice and readiness to protect Ukrainian democratic values rather than by ethnic origin. The value of solidarity, mutual respect and self-organisation has increased significantly that contributed to the ability of the people to join outside the government infrastructure to solve critical problems. In the conditions of the Russian-Ukrainian war new national cultural values such as dignity, freedom, justice, will for democracy and European values became a driver of the national resistance, territorial integrity protection and national identity securing. They provided social sustainability and unity, activated volunteers’ movement.

Public Policy in the Field of Art: Socio-Cultural Foundations and Contemporary Challenges

Natalia Shchur — 2025-09-25

The purpose of the study is to identify the socio-cultural foundations of public policy in the field of art in Ukraine, analyse contemporary challenges to its implementation (globalisation, European integration, digitalisation, and war), and assess their impact on the preservation of national identity, the development of civil society, and the effectiveness of state cultural strategies. Research methodology. The research is based on a comprehensive methodological approach combining socio-cultural, institutional, and comparative analysis. The socio-cultural approach reveals the role of art in shaping shared values and social integration; the institutional approach defines the functions of state and international bodies in implementing cultural policy; and the comparative method allows evaluating the adaptation of the national model to global standards, including EU practices and the UNESCO Convention. Scientific novelty. The study identifies the socio-cultural foundations of public policy in Ukraine’s art sector as a balance between state regulation, artists’ autonomy, and global integration processes. It clarifies its role as a factor of national security and a space for preserving cultural identity under conditions of digitalisation and war. Conclusions. Public policy in the field of art in Ukraine combines state regulation, artists’ autonomy, and the influence of global integration processes. It ensures socio-cultural interaction, the formation of shared values, and the preservation of national identity. Contemporary challenges — war, digitalisation, and globalisation — transform the cultural space and stimulate the development of new digital platforms, cultural initiatives, and mechanisms of public participation.

Theoretical and Methodological Foundations for the Study of the Activities of National-Cultural Societies during Ukraine’s Independence

Olha Halan — 2025-09-25

The purpose of this study is to conceptualise the key notions and methodological approaches to examining the activities of national-cultural societies during the period of Ukraine’s independence in the context of intercultural interaction. Research Methodology. The methodology is based on an interdisciplinary synthesis of cultural studies, history, sociology, political science, and cultural anthropology, which makes it possible to view national-cultural societies as a multidimensional phenomenon. The study employs general scientific methods (analysis and synthesis, induction and deduction, generalisation, comparison) as well as specific methods: historical-typological, systemic, comparative, structural-functional, and content analysis. Scientific Novelty. The novelty of this research lies in the clarification of the conceptual framework necessary for a cultural studies analysis of national-cultural societies in the context of intercultural interaction, as well as in the substantiation of an interdisciplinary strategy for socio-cultural analytics that integrates the achievements of cultural studies, ethnology, sociology, history, and cultural anthropology. An original analytical model is proposed for examining national-cultural societies as institutions that simultaneously preserve cultural identity, promote ethnic heritage, and facilitate the integration of communities into civil society. Conclusions. The study of national-cultural societies in Ukraine requires an interdisciplinary approach combining comparative-historical, structural-functional, and cultural-anthropological analyses. Such societies serve as custodians of ethnic identity, promoters of cultural heritage, and active participants in civil society and intercultural dialogue. Current challenges necessitate updating strategies for their support and fostering effective partnerships between the state, the civic sector, and local initiatives.

Digital Technologies in Modern Stunt Industry

Nazar Mayboroda — 2025-11-25

The purpose of the article is to identify the features of the use of digital technologies in the process of working on stunt scenes in modern film production and to outline their impact on the development of the stunt industry. Research methodology. The theoretical method, the method of analysis and synthesis, the method of historical and cultural, systemic, typological and comparative analysis were applied. Scientific novelty. The issue of the influence of innovative technologies on the development of the stunt industry at the current stage of film production development was investigated; the features of the use of computer graphics in creating film stunts in a historical retrospective were considered; the prospects for the further development of the stunt industry in the context of the evolution of digital technologies were outlined; the process of creating stunt scenes with the integration of augmented reality and artificial intelligence technologies at the pre-production and post-production stages was analysed. Conclusions. The development of technology is an important factor in the evolution of the stunt industry, providing the opportunity to create impressive special effects. The digital revolution has significantly expanded the possibilities of using computer graphics in the process of film production in general and the creation of stunt scenes in particular. The involvement of digital technologies in the stunt industry can be conditionally divided into: the use of technical innovations in the process of planning and modelling stunt scenes, calculating the safety of the stuntman, etc., in particular with the help of computer graphics and artificial intelligence; the use of digital technologies directly in the process of creating stunt scenes and at the post-production stage. The modern development of the stunt industry is associated with a combination of traditional approaches to creating stunt scenes, methods developed over the past three decades (model shooting, animatronics, stop motion, rapid, timelapse, reverse action, lumakey, chromakey, motion capture, deepfake, machmoving or motion tracking) and the use of innovative technologies – virtual, augmented and mixed reality, artificial intelligence, which provide the ability to digitally generate characters and environments. The contribution of digital technologies to the reproduction of real physics in combination with creative capabilities has laid the foundation for a new era of the stunt industry.

Inclusion as a Key Element in Developing an Innovative Strategy for the Development of Cultural Institutions

Oleksandr Matuzko — 2025-11-25

The purpose of the article is to identify the features of inclusion as a key element of an innovative strategy for the development of cultural institutions (using the example of a theatre) at the current stage of society’s development. Research methodology. The method of theoretical and terminological analysis, typological, cognitive and conceptual method, system analysis method were applied, which contributed to the clarification of the concept of ‘inclusion’, the identification of the role of inclusion in the development strategy of modern cultural institutions, the tracing of the features of the culturological discourse of social inclusion. Scientific novelty. The issues of developing and implementing an innovative approach to the activities of cultural institutions were investigated, the basis of which is inclusivity, and the goal is to create a barrier-free socio-cultural space; the definition of the concept of ‘inclusion’ was clarified through the prism of the features of the activities of cultural institutions; promising directions for the development of inclusive theatrical practices were considered. Conclusions. Over the past decade, the activities of cultural institutions have radically changed: from simple preservation and popularisation of cultural heritage, there is a transition to a more dynamic vision, in which inclusion becomes a key element in the development of a sustainable and innovative development strategy. Inclusion cannot be just a theoretical intention, but must be embodied in concrete actions, and cultural institutions must establish clear rules and parameters that emphasise the importance of social participation for all. Theatre is by its nature an inclusive space, capable of representing diversity and creating a community around the performance act. The implementation of inclusive theatre practices represents the strategic priorities of cultural institutions at the current stage of development of the socio-cultural space. The effectiveness of inclusion involves its positioning as an integral part of the organisational culture of the theatre, a process that involves both management and artists, as well as the audience. In this way, inclusion can transform from a certain function into an intrinsic value of the identity of the theatre institution, creating more representative and participatory spaces that meet the needs of an increasingly diverse and inclusive society.

Narratives of Ukrainian Musical Pop Culture in the Context of the Russian-Ukrainian War

Illia Bilyi — 2025-11-25

The purpose of the article is to identify the specifics of narratives in Ukrainian musical pop culture through the prism of the Russian-Ukrainian war and to reveal their influence on the affirmation of national identity. Research methodology. The method of analysis and synthesis, the method of theoretical analysis, the terminological method, the typological method, the historical-cultural method, the method of comparative and culturological analysis were applied. Scientific novelty. The problems of constructing song narratives at the current stage of the development of Ukrainian musical popular culture through the prism of the events of the Russian-Ukrainian war are considered; song narratives formed under the influence of events during the anti-terrorist operation in Donbas (ATO) and the declaration of martial law are studied. The content of Ukrainian popular music in 2014–2025 was analysed and the most popular narratives were identified. Conclusions. The study revealed that in the context of musical pop culture in 2014–2025, the song narrative is positioned as an important means of accumulating and transmitting (in a codified form, mediated by the specific vocabulary of pop songs and the artistic and figurative system) cultural traditions, values, collective memory and social experience of the Ukrainian people. The work of representatives of modern Ukrainian pop culture not only reflects traditional song narratives, but also produces, based on the realities of the present, new narratives that represent and interpret the events of the Russian-Ukrainian war, form collective memory, contribute to the formation of national identity, and therefore are a powerful tool for constructing social reality. Based on the typology of modern media narratives proposed by M. Mytsiuk, the content of Ukrainian popular music from the beginning of the Russian-Ukrainian war to the present day was analysed and it was found that the most common are heroic (celebrating sacrifice and courage), mythologized (reproducing traditional images, symbols and old stories in a current context), satirical (ridiculing the aggressor) and tragic narratives (about human losses and destruction). Mythologised narratives, represented by means of authorial adaptation of folk and rifle songs, are among the most effective in the context of establishing national identity.

Timbre Specificity of ‘Ondes Martenot’ in Religious and Artistic Concept of O. Messiaen

Dmytro Holubov — 2025-11-25

The purpose of the study is to identify the figurative, semantic and symbolic specificity of the interpretation of the timbre of ‘Ondes Martenot’ in the context of the religious and artistic concept of O. Messiaen. Research methodology. The cultural-historical, interdisciplinary historical and cultural studies, as well as analytical and musicological methods were essential for this work. The scientific novelty of the work lies in the fact that it is the first to introduce into art historical circulation materials on the timbre specificity of the electronic musical instrument ‘Ondes Martenot’ marked by the religious and artistic aspirations of O. Messiaen. Conclusions. O. Messiaen appears as a unique artist of the 20th century, whose work organically combines music, faith and philosophy. His art is not just a musical and sound design of sacred content, but a holistic religious and artistic concept, where each intonation or timbre element performs a symbolic, theological function. The composer’s worldview was shaped by the leading philosophers and theologians of the twentieth century – the Neo-Thomists J. Maritain and E. Gilson, P. Teilhard de Chardin, G. Marcel, and Archimandrite Cyprian (Kern), whose ideas about the unity of faith and reason, spiritual evolution, and liturgical synergy deeply resonated with his aesthetic vision. This fits into the broader context of modern culture, which sought to synthesise art, religion and science. Of particular importance for Messiaen’s ‘soundworld’ Messiaen’s ‘Ondes Martenot’ – an innovative electronic musical instrument whose timbre for the composer was a sonorous image of the invisible, transcendent. Their sound is a form of theological experience, an acoustic embodiment of Divine light and joy. In the works ‘Three Little Liturgies of the Divine Presence’ and ‘Turangalila Symphony’, ‘Ondes Martenot’ become an instrument of liturgical meaning – they symbolise the inner spiritual state, angelic voices, or even the Divine Presence itself. Their sound functions as a kind of materialisation of the immaterial. In our opinion, the various interpretations of ‘Ondes Martenot’ in Messiaen’s works are primarily united by the expression of the sacred, which appears multifaceted and dynamic. Depending on the context, this sound can represent nature, space or Christian symbols – from expressive sound to meditative atmosphere. It creates a sound space that goes beyond earthly experience, becoming a key element of the composer’s intonational language. Thus, O. Messiaen’s work demonstrates how music can become a mediator between the earthly and the heavenly, between the physical and the metaphysical. It affirms the unity of art and faith as the artist’s mission, and the timbral specificity of the ‘Ondes Martenot’ becomes a space of spiritual revelation.

Strategies for Promoting a National Brand through Choreographic Art: Foreign Experience and Ukrainian Realities

Volodymyr Drach — 2025-11-25

The purpose of the article is to study strategies for promoting a national brand through choreographic art based on an analysis of the experience of forming the cultural image of the state and outlining the specifics of Ukrainian realities in the context of using dance practices as an effective tool of cultural diplomacy and intercultural communication. The research methodology is based on the application of a systemic approach, as well as a set of methods such as culturological and art history. An analytical method was used to identify key mechanisms for integrating dance art into the strategy of cultural diplomacy and a qualitative analysis of modern Ukrainian choreographic projects. Scientific novelty. The work systematically considers choreographic art as a strategic resource for forming a national brand of Ukraine for the first time, outlines its potential for international communication, and identifies the possibilities of using foreign experience in domestic conditions. The conceptualisation of choreography as a cultural code capable of integrating tradition and modern artistic practices into a single holistic representation of the state on the international stage is proposed. Conclusions. Choreographic art is an effective tool for promoting a national brand due to its universal language, high emotionality, and ability to combine ethnic and modern cultural codes. Foreign experience demonstrates the effectiveness of combining traditional dance with modern stage forms, involving innovative technologies, and state support. The Ukrainian context requires strengthening institutional coordination, investment in choreographic projects, and the creation of an integrated strategy that will combine authenticity and modernity to increase the country’s recognition in the world.

Mass Spectacle as a Manifestation of Performative Art: Visual Strategies of Representation

Mykyta Statsenko — 2025-11-25

The purpose of the article is to reveal the specifics of mass spectacle as a form of performative art, in particular, to analyse its visual strategies that provide a communicative and aesthetic effect in the modern socio-cultural space; to outline the mechanisms of interaction between the visual component and performative action that form new practices of representing cultural meanings in modern spectacle. The research methodology is a combination of systemic and culturological approaches, which combines art historical analysis, culturological interpretation and semiotic method in the study. A comparative analysis of examples of mass spectacles (festival events, ceremonies, urban performances, etc.) was used, as well as elements of visual anthropology, which allow us to consider spectacle as a multi-component structure. Scientific novelty. The article first proposes an interpretation of mass spectacle not only as a socio-cultural phenomenon, but also as an autonomous form of performative art, where visual strategies act as the leading means of constructing meanings. The role of the synthetic interaction of images, symbols and spatial solutions in the formation of the viewer’s performative experience is emphasised. The principles of visual dramaturgy that determine the structure of mass spectacles and their ability to influence collective memory are highlighted. Conclusions. Mass spectacle appears as a polyphonic form of artistic expression, where performativity is realised through the direction of space, the use of visual metaphors and symbolic codes. Visual strategies provide not only aesthetic expressiveness, but also communicative effectiveness, actualising cultural archetypes and national identification markers. Thus, mass spectacle acts as a tool for the transmission of cultural values and the formation of common meanings in a globalised world.

Mapping as a Form of Representation and Interaction: Cartographic Practices in the Transformation of Kyiv’s Cultural Landscape

Anastasiia Stepanenko — 2025-11-25

Purpose of the Study. This research focuses on analysing the mapping of Kyiv as a cultural practice in its historical evolution — from the cartographic forms of the 19th–20th centuries to contemporary digital and artistic interpretations of urban space. The aim is to identify how mapping practices of different periods reflect changes in the city’s symbolic structure, interact with collective memory, influence the formation of urban identity, and serve as tools for redefining sign-symbolic systems in the context of modernisation, digitalisation, decommunisation, and derussification. The research methodology. The study employs an interdisciplinary approach that combines cultural analysis, urban studies, and the spatial theories of Henri Lefebvre and Michel de Certeau. A comparative-historical method is applied to analyse cartographic materials from different eras, while visual analysis is used to identify sign-symbolic dominants. The research also uses a case study of the contemporary cultural project Shukai as an example of interactive, affective cartography that merges representation with artistic rethinking of urban space. Scientific Novelty. For the first time, a comprehensive cultural analysis of Kyiv’s mapping practices has been conducted in the dimensions of interaction, representation, and transformation of the urban landscape. The study demonstrates that maps are not only navigation tools but also socio-cultural artifacts that record and shape the city’s symbolic logic. It substantiates that contemporary cultural mapping initiatives, including Shukai, create alternative maps of memory that represent a plurality of voices and experiences, combining elements of the map and the route. It also reveals that such projects activate a ‘living’ affective cartography, which restores the bodily, emotional, and narrative dimensions of the map. Conclusions. Mapping of Kyiv has evolved from decoratively detailed historical maps of the 19th–20th centuries, through utilitarian and ideologically standardised Soviet examples, to modern interactive and artistic forms that integrate digital technologies and public participation. Contemporary mapping practices not only document changes in the urban environment but also model new scenarios for its cultural appropriation. The Shukai project demonstrates the potential of mapping as a tool for shaping new urban narratives, stitching together fragmented layers of memory, and strengthening connections between the city, its residents, and visitors. In the context of Ukraine’s postcolonial transformation, such initiatives become important agents for rethinking the cultural landscape and revitalising local identity.

Network Railway Museum as an Important Component of National Tourism Space

Oleg Fesovets — 2025-11-25

The purpose of the work is to highlight developments related to the creation of a network-based railway museum as an innovative model for organising museum activities, as well as an important tool for shaping the national tourism space. The methodology of the research is based on systemic and cultural approaches, as well as the use of historical, synthetic, and analytical methods, which made it possible to substantiate the research findings. The scientific novelty of the article lies in the introduction and justification of a new theoretical concept — the network museum (railway), as well as in the exploration of its impact on the development of Ukraine’s tourism space. Conclusions. The creation of a network railway museum as a vital component of the national tourism space is an ambitious project capable of integrating cultural heritage, technology, education, and the economy. The uniqueness of this approach lies in the combination of regional identity with a national scale, the past with the future, and tradition with innovation. In the future, the network railway museum could become not only an example of a modern approach to museology but also an effective mechanism for national consolidation, cultural diplomacy, and the development of sustainable tourism.

Direction as a Culture-Creative Practice: Forming Event Experience in Modern Musical Culture of Ukraine

Mykhailo Kharchenko — 2025-11-25

The purpose of the article is to reveal the culture-creating function of direction and analyse its key strategies in the formation of a holistic artistic experience in modern Ukrainian musical event projects. The research methodology is based on the application of: system analysis – to consider a musical project as a polycode, hybrid system, where direction is a key element that ensures the integration (synthesis) of music, space and technologies; case study method – for a deep, detailed study of individual, representative examples in order to identify typical and unique directing strategies used in wartime conditions; culturological and semiotic analysis – to interpret direction as a process of creating cultural meanings (semiosis). The scientific novelty lies in considering directing as a key cultural practice that shapes event experience in modern musical culture of Ukraine in the context of social transformations, demonstrating its transition to the organisation of emotional experience, which functions as a mechanism for creating collective memory. The classification of directorial strategies is specified using the example of three hybrid formats: festival (directing as the transformation of space into meaning), musical performance (directing as the creation of emotionally rich drama) and Livestream concert (directing as media communication and personalisation of experience). Conclusions. Directing in modern event projects functions as a key cultural practice and a means of organising emotional experience, capable of integrating music, visual series and technologies into a single artistic work stored in collective memory. Each of the typical projects has its own specific directorial task: for festivals, this is the transformation of space into meaning (through multi-scenery), which affects social interaction; for performances – creating emotionally rich drama for cultural reflection; for Livestream concerts – personalisation of experience and direction of media communication. Technological direction is a factor in transforming the role of the viewer into a participant or witness, ensuring the extension of the experience beyond its temporal boundaries. In conditions of war, this is a critically important socio-cultural function that ensures the stability of Ukrainian culture and its international communication.

Artistic Initiatives of Public Organisations as a Tool for Forming National and Cultural Identity

Andriy Shmandrovskyi — 2025-11-25

The purpose of the article is to analyse artistic initiatives of public organisations in Ukraine as an effective tool for forming national and cultural identity, to determine their role in consolidating society, preserving cultural heritage, and popularising Ukrainian values in a global context. The research methodology is based on a comprehensive approach that combines cultural and art historical analysis. Comparative historical and systemic approaches were also used. The empirical basis is the projects of Ukrainian public organisations that implement artistic programmes aimed at restoring national identity, integrating the cultural experience of regions and strengthening civic solidarity. Scientific novelty. The work first substantiates the role of artistic initiatives of public organisations as a catalyst for modern processes of cultural self-identification in the context of social transformations and war. It is proven that such initiatives are not only a form of cultural activism, but also a means of strategic communication aimed at shaping the image of Ukraine as a European cultural state. Conclusions. As a result of the study, it was established that public art initiatives play a leading role in the modern cultural creative process, as they provide a connection between art, civil society and national identity. Their activities contribute to the renewal of cultural memory, the development of creative communities, and the formation of a sense of belonging to the Ukrainian cultural space. Such initiatives integrate traditional and modern artistic practices, creating new models of representation of Ukrainian identity in the world.

Application of Social Engineering Tools in the Implementation of Aesthetic and Hedonistic Functions in Fine Arts Marketing

Dmytro Akimov — 2025-11-25

The purpose of the article is to research the methodology of applying social engineering tools in the implementation of such functions of art as: aesthetic function, hedonic function, calming-compensatory function, precognition function, prognostic function, suggestive function in socio-cultural projects in the field of art marketing, and to research the impact of these functions on consumers of the art product. The research methodology consists of the application of comparative, empirical and theoretical methods. Such an epistemological methodological approach allows us to investigate the ability of the main functions of art to influence the formation of consumer perceptions of an art product when using social engineering tools in socio-cultural art marketing projects. The scientific novelty consists in the disclosure of the possibilities of applying social engineering tools in the field of art marketing as a plane of socio-cultural projects in the implementation of such basic functions of fine art as the aesthetic function and the hedonistic function in the process of positioning of works of art. Conclusions. Social engineering is an effective marketing tool in the implementation of the aesthetic and hedonistic functions of fine art. These artistic functions are actively used in marketing on the art market, they are partly similar to each other, since consumers of these art functions seek to enjoy the beauty embodied by artists in the products of their own creativity. However, there may be significant differences between the works in which these functions are implemented. Thus, the aesthetic function of art can encourage the consumer to take certain actions through such social engineering tools as the attractiveness and influence of plots and characters, through the empathy of consumers to receive aesthetic pleasure not only from the beauty of the surrounding world, but also from the beauty of patriotic, public, socially useful actions of the characters of art works, their moral, emotional, spiritual manifestations, humanity. Unlike the aesthetic function, the hedonistic function of art, again through the attractiveness and characters, the empathy of consumers, the authority of influential consumers (which is a powerful marketing tool for social engineering), calls on consumers of an artistic product (painting, sculpture, photography, various advertising products) to hedonistic consumption of the art products with the recognition of consumer pleasure as one of the highest values in life. It is on hedonism that the marketing strategies of producers of products and services are built. So, comparing these observations, we come to the conclusion that the aesthetic function of fine art is more realised in social marketing, and the hedonistic function of fine art is more realised in commercial marketing in various areas of products and services.

Urban Watercolour Plein Air as a Form of Understanding Urban Space in Contemporary Art

Zhanna Denysiuk — 2025-09-25

The purpose of the article is to study the phenomenon of urban watercolour plein air as a contemporary artistic practice that forms new approaches to understanding urban space, its visual identity and emotional and aesthetic representation in the art of the 21st century. Attention is focused on identifying the relationship between the artistic perception of the urban environment and cultural transformations of the urban landscape. Research methodology. The methodological basis of the study is a combination of art history, culturology and phenomenology approaches. The methods of comparative analysis, observation, artistic interpretation and visual analysis of the works of participants in contemporary Ukrainian and European watercolour plein airs were used. The contextual method was also applied to understand urban watercolour painting in relation to the trends of ecological and social art. Scientific novelty. For the first time, urban watercolour plein air is considered as a tool for visual reflection of urban space, combining documentary and artistic interpretation of the environment. The concept of ‘plein air urbanism’ is substantiated as a form of artistic dialogue with the urban fabric, within which watercolour appears not only as a technique, but also as a means of communication between the artist and the space. The role of watercolour in the formation of the soft aesthetics of urban experience is revealed. Conclusions. Urban watercolour plein air in contemporary art functions as a form of cultural self-expression and mediation between man and urban space. Its artistic nature combines empirical observation, emotional fixation and socio-cultural reflection. Through watercolour practices, a new type of visual thinking is formed

Watercolour as an Artistic Means of Fixing Cultural Heritage Monuments of Ukraine in the Middle of the 19th – Early 20th Centuries

Maryna Yur — 2025-11-25

The purpose of the work is to clarify the role and features of the development of watercolour painting as a means of artistic fixation of cultural heritage monuments of Ukraine in the mid-19th – early 20th centuries, to highlight the function of documentation, to determine the impact on modern practices of preserving historical and cultural heritage and reconstruction of lost objects, subjects, and works. The focus of the study is the work of Vasyl Tropinin, Taras Shevchenko, Konstantin Trutovskyi, Serhii Vasylkivskyi, Olena Kulchytska and others. The research methodology is based on a cultural-historical approach in assessing the conditions and trends in the development of watercolour, its function in the creative interpretation of reality and fixation of cultural monuments, their documentation; historical and source analysis made it possible to select, systematise, review and evaluate literary sources in determining the state of development of the topic; a hermeneutic approach in combination with iconographic analysis was used in the processing of factual material, contributing to the clarification of the time and place of the depicted monuments, their condition at the time of creative fixation of the general appearance, individual elements and details; a comparative analysis of the creative manners of artists in depicting monuments revealed their value orientations and worldview principles in the formation of the ‘visual archive’ of Ukraine. The scientific novelty of the article is determined by a new approach to assessing the role of watercolour painting in the preservation of cultural heritage. Conclusions. Watercolour as an artistic and documentary means of recording objects and cultural monuments during the 19th and early 20th centuries contributed to the formation of a ‘visual archive’, which plays a multifunctional role in the system of preservation and study of cultural heritage. In this context, watercolour combines science, technology, art, cultural values, representing the past and the present. Its contribution to the development of interdisciplinary research, restoration, museum work, digital education, and humanities is significant in the context of modern challenges of protecting cultural heritage during the Russian-Ukrainian war.

International Positioning of Ukrainian Decorative and Applied Arts through Cultural and Diplomatic Art Projects

Alla Diachenko — 2025-11-25

The purpose of the study is to identify the role of decorative and applied arts of Ukraine as a tool of cultural diplomacy in the process of forming the international image of the state. Research methodology. In the course of the scientific study, general scientific methods of cognition were used, in particular, analysis, synthesis, generalisation, comparison, systemic and culturological approaches. The scientific novelty lies in proving the thesis that decorative and applied arts continue to perform the function of preserving ethno-cultural codes, while adapting to the global context through the integration of digital technologies, new materials and design solutions. It has been studied that in the theoretical dimension, cultural diplomacy through art is based on the concepts of soft power, public diplomacy and nation branding, forming a platform for positioning Ukraine as a subject of the European cultural space. It has been shown that decorative and applied arts themselves become an effective tool of cultural communication, since they are able to represent national values through universal symbols. The examples of international exhibition projects ‘Amidst Cries from the Rubble’, ‘Beyond Tradition’, ‘Rushnyky: Sacred Ukrainian Textiles’, ‘Mariia Prymachenko: Paintings on Show in London’ are analysed, which confirm the significant potential of Ukrainian folk art in creating a positive cultural image of the state. Conclusions. It is concluded that through the symbolism of the towel, sunflower and Easter egg ornament, Ukraine broadcasts messages of humanism, resilience and spiritual revival to the world, affirming its own identity even in conditions of war. The results of the study show that the current state of decorative and applied arts in Ukraine is characterised by a harmonious combination of tradition and innovation, which is reflected in the synthesis of folk techniques with the latest artistic searches.

Formation of Ukrainian Style in Interiors of Public and Residential Buildings in Ukraine in the First Third of the 20th Century

Olena Maidanets-Bargilevich — 2025-11-25

The purpose of the work is to analyse the interiors of public and residential buildings of Ukraine in the first third of the twentieth century. To outline the main principles of fine arts aimed at turning to sources of folk art, the inseparable combination of architecture, sculpture and monumental painting, which creates a holistic artistic image. The research methodology is to apply the art approach to historical and artistic analysis of the interiors of public and residential buildings of Ukraine in the first third of the twentieth century, consideration of characteristic features. The scientific novelty is to justify the phenomenon of the use of folk motifs and a combination with the style of modernity, constructivism as important components in preserving national cultural identity. Conclusions. The results of the study in the first third of the 20th century cover the peculiarities of artistic decisions of famous artists (V. Krychevskyi, O. Slastion, A. Zhdakh, M. Boichuk, O. Saienko) in public and residential interiors of Ukraine’s structures. The principles of understanding of traditional art and its active transformation are defined in combination with modern artistic directions and creating a single interior image. The active use of decorative arts is emphasised: weaving, ceramics, woodworking, combination of different types of arts in the interior. The appeal to the deep foundations of folk culture revealed the identity of the Ukrainian people, contributed to the formation of Ukrainian style in residential and public interiors by means of laconic form, plastics, the creation of image and the system of colour. The series of interiors of O. Saienko shows not only the interior decoration of the premises, but also the development of their own works (carpets, decorative fabrics, furniture, ceramics, stated mosaic panels, paintings-fries) that created unique synthesis of arts in the interior.

Oleksandr Dubovyk’s Artistic Works in Ukrainian Art Historical Discourse

Vadim Mykhalchuk — 2025-11-25

The purpose of the research is to analyse the representations of Oleksandr Dubovyk’s works in the Ukrainian art criticism discourse of the second half of the 20th and the early 21st century. Attention is paid to his style evolution and its impact on the development of contemporary art. The research methodology is based on a comprehensive art historical approach that combines historical-cultural, stylistic, and conceptual-analytical analysis of the artist’s works. The scientific novelty of the research is the complex analysis of Oleksandr Dubovyk’s works in the contexts of the contemporary Ukrainian art criticism perspective, which needs the studying in details. The research highlights the evolution of the artist’s style — from early the neo-avant-garde to the mature philosophical symbolism by the analysis of colour schemes, compositional solutions, and fine art techniques. Conclusions. Oleksandr Dubovyk is one of the central figures of Ukrainian unofficial art of the second half of the 20th century. His work combines modernist formal codes with postmodern polysemy, integrating local cultural experience into the broader art historical discourse. The analysis of the artist’s stylistic evolution, from geometric structures to ‘suggestive realism’ and philosophical symbolism, demonstrates the intellectualisation of the image and orientation on metaphysical reduction with a great emotional content in his works. The author’s ‘dictionary of signs’ (‘bouquet’, ‘Nike’, ‘prophet’, ‘phantom’, ‘triumphant’, ‘guests’), combined with the serial method of creation, provides a stable mechanism of variable dramaturgy, where colour and format create a structure and determine the rhythm and semantic idea of the compositions. The institutional reception of Dubovyk’s works (the exhibition ‘Pohliad’, 1987), as well as other exhibitions and publications, secured his place in the national canon and integrated him into the international context of nonconformist art studies. The significance of the artist consists in his formal innovations and his affirmation of the ethical autonomy of art, which remains actual for the modern Ukrainian realities. Dubovyk’s art heritage serves the artistic phenomenon as well as a platform for further academic researches, where stylistic analysis, semiotic approaches, and cultural contexts intersect, making his legacy pivotal for understanding the development of Ukrainian art in the second half of the 20th and the early 21st century.

Composition as a Fundamental Component of Designers’ Professional Training: Theoretical Justification and Empirical Verification

Sergii Nesmachnyi — 2025-11-25

The purpose of this study is to theoretically substantiate and empirically verify the role of composition as a fundamental component of designer training within contemporary digital contexts. The methodology combines theoretical analysis of historical compositional models, content analysis of design curricula (Ukrainian and international), student surveys, an eye-tracking experiment, and case study reviews of 14 real-world projects (2018–2024). The article proposes a three-level compositional thinking model — composition → layout → grid — as a framework for visual logic in print and UI/UX design. The applied methods include descriptive statistics, t-tests, ANOVA, correlation analysis, and visual data (heatmaps, gaze paths). The scientific novelty lies in integrating classical compositional principles with digital tools and empirical cognitive metrics, positioning composition not only as an artistic skill but also as a functional, user-centred problem-solving system. The results demonstrate that early and intensive training in composition significantly enhances performance in related disciplines (typography, UI/UX), reduces users’ cognitive load, improves visual quality, and contributes to achieving measurable business goals. Designers with strong compositional thinking exhibit higher effectiveness, adaptability, and cross-disciplinary design competence. The conclusions emphasise the need for educational reform: vertically integrating composition training throughout the curriculum, embedding digital platforms (Figma, CSS Grid), encouraging interdisciplinary collaboration, and developing objective evaluation tools. Composition is framed as a connective visual-cognitive language essential for contemporary design practice. Its mastery empowers designers to navigate complexity, foster clarity, and address accessibility and usability challenges.

Admission of Artist Oleh Minko to the Union of Artists of the Ukrainian SSR: Between Art and Ideology

Dmytro Pshenychnyi — 2025-11-25

The purpose of the study is to analyse the circumstances of Ukrainian artist Oleh Minko’s admission to the Lviv Regional Organisation of the Union of Artists of the Ukrainian SSR and to identify the artistic achievements that served as the basis for his acceptance into the association. Methodology. The study applies biographical and cultural-historical methods, as well as formal analysis of artworks. The biographical method was used to examine documentary sources and the artist’s life and work, with a focus on the influence of social conditions and the professional environment on the formation of his artistic ideas and imagery. The cultural-historical method was employed to study both the official and unofficial creative output of Oleh Minko, pursued in parallel. This method made it possible to account for the political context, the ideological requirements of the Union of Artists of the Ukrainian SSR, and to structure the material in chronological order. Formal analysis was applied to examine the visual components and compositional organisation of Oleh Minko’s works. Scientific novelty of the study lies in a comprehensive examination of Oleh Minko’s admission to the Artists’ Union of the Ukrainian SSR within the section of Decorative and Applied Arts, based on archival materials and photographs of his little-known works. For the first time, the artistic and ideological features of the artist’s official works — in particular, decorative weaving, tapestries, agitational compositions, as well as, to some extent, painting and graphics — have been analysed, as these remained previously unexplored. A number of little-known works have been introduced into scholarly discourse, significantly supplementing the catalogue of the artist’s creative legacy and broadening our understanding of his oeuvre. It has been demonstrated that while Minko’s nonconformist works have been the subject of art historical attention, the conformist dimension of his practice, connected with his admission to the Artists’ Union of the Ukrainian SSR, has remained largely unexamined. Conclusions. The study introduces for the first time archival materials that reveal the circumstances of Oleh Minko’s admission to the Artists’ Union of the Ukrainian SSR. It has been established that the presented works — decorative weaving, tapestries, and agitational compositions — were adapted to the requirements of Soviet official art. The weaving art was grounded in folk traditions while being reinterpreted by the artist. The research highlights the complex conditions of the artist’s creative activity within the Soviet system and expands the understanding of Minko’s artistic production of the late 1960s. It demonstrates that, as a representative of the Sixtiers generation, he sought to balance his personal artistic vision with the demands of official artistic culture, which ultimately secured his admission to the Artists’ Union of the Ukrainian SSR in 1970.

Artistic and stylistic features of the largest classicist monument of the first decade of the 19th century at Lychakiv cemetery in Lviv

Pavlo Bondar — 2025-11-25

The purpose of this article is to examine a unique monument at Lychakiv cemetery in Lviv, created in the first decade of the 19th century. Unfortunately, this work has not survived in its original form; however, at the time of its installation, it was the largest memorial composition in the city, executed in the Classicist style. The preserved description of the monument and the surviving sculptural elements make it possible to conduct a comprehensive art historical study of this piece. Methodology. This research employs methods of art analysis, comparative analysis, and iconographic analysis. These approaches made it possible to identify the artistic and stylistic features of the sculptural works and compare them with the signed works of Hartmann Witwer, Antonio Canova, and Johann Martin Fischer, revealing shared iconographic and compositional characteristics. A graphic reconstruction method was used to recreate the appearance of the lost Classicist monument at Lychakiv cemetery. Scientific novelty. The study explores the artistic and stylistic aspects of the largest memorial monument of the early 19th century in Lviv. The general appearance of the lost monument has been reconstructed; works that inspired the author during the creation of the memorial composition have been identified; and the iconography of the preserved sculptural elements has been established. Conclusions. The research confirms that the surviving sculptural works from the lost multi-figure monument align with the artistic language of Hartmann Witwer as seen in his signed pieces. It was revealed that in the overall composition, Witwer drew inspiration from the works of the renowned Roman sculptor Antonio Canova, particularly his pyramidal tombs for Popes Clement XIV and Clement XIII. The preserved female figures correspond to the iconography of Virtue and the maiden accompanying her from Canova’s monument to Maria Christina of Austria in Vienna. The sculpture of the young man follows the iconography of the Genius of Death, also by Canova, from the tomb of Pope Clement XIII in Rome. The lost memorial composition stands as an example of the author’s reinterpretation of well-known Western European monuments, while the preserved sculptures are high-quality examples of Classicism in Ukrainian art.

Art Projects of Ukrainian Decorative and Applied Arts in the Context of Their Image-Building Mission

Andrii Kravets — 2025-11-25

The purpose of the article is to carry out a theoretical and practical reflection on the clarification of the image mission of art projects of decorative and applied arts of Ukraine, to outline the specifics of their conceptual and semantic meaning in the world art space. The research methodology includes general scientific principles of systematisation and generalisation of the problem under study, which allowed to determine and scientifically substantiate theories, conceptual approaches to understanding the content of the concepts of ‘decorative and applied arts’, ‘art project’, ‘image mission’. The purpose and objectives of the article determined the use of an axiological approach, which allowed to reveal the interdisciplinary nature of the considered theories, to identify personalised scientific positions. The use of the analytical method allowed to identify conceptual principles for further theoretical and practical art historical perspectives in the perspective of studying the mission phenomenon of art projects of Ukrainian decorative and applied arts in their global-local dimensions. The scientific novelty consists in carrying out a theoretical and practical understanding of the main image components of art projects of decorative and applied arts of Ukraine in view of the specifics of their conceptual and semantic content. Conclusions. The image mission of art projects of decorative and applied arts of Ukraine consists in the purposeful representation of Ukrainian art in the international cultural space, the formation of a positive cultural image of the state, cultural representation and is a tool of cultural self-identification and cultural diplomacy. Effectively planned and successfully implemented art projects become ambassadors of Ukrainian art, spreading its unique and inimitable image. Art projects perform a strategic function in cultural diplomacy, form trust and interest in Ukrainian decorative and applied arts. Art projects acquire a special mission during the war, where through artistic images, symbols, and artistic practices they strengthen faith in victory, support morale and contribute to the consolidation of the nation. Art projects fulfil the mission of emotional support, are a source of hope and spiritual support. The image mission is to representatively convey to the world the truth about the war, demonstrating the strength and resilience of Ukrainians.

Stylistic Features of Ukrainian Ornament of the Art Nouveau Period: Synthesis of European Influences and National Traditions

Inna Felker — 2025-11-25

The purpose of the work is to study the stylistic features of Ukrainian ornament of the Art Nouveau period in the context of the synthesis of European artistic influences and national traditions; to consider the specifics of form formation, decorativeness, and symbolic content of the ornament as an expression of national identity in the conditions of pan-European cultural transformations of the late 19th – early 20th centuries. Methodology. The methodological basis of the study is the principles of historical and cultural, art history, and stylistic analysis. A comparative typological method was used to identify the mutual influences of the Ukrainian and European ornamental traditions, as well as a culturological approach, which allows interpreting the ornament as a carrier of the national cultural code. The analytical method was used to systematise artistic forms and motifs in the work of Ukrainian artists. Scientific novelty. The work summarises the Ukrainian ornament of the Art Nouveau period as a phenomenon of artistic synthesis, which combines the European modernist aesthetics of Europe with the national tradition of folk decorative art. It is proven that Ukrainian artists not only adapted the forms of the Art Nouveau style, but also transformed them in accordance with their own system of symbols and plastic language. The ornament appears not only as a decorative element, but also as a means of artistic thinking, through which the philosophy of harmony of man, nature and nation is revealed. Conclusions. The Ukrainian ornament of the Art Nouveau period was the result of a complex process of cultural interaction, in which the fusion of European influences and national traditions created a unique type of national style. Its characteristic features are linearity, stylisation of natural forms, symbolism, rhythmic coherence, and coloristic harmony, which in combination formed the visual image of Ukrainian culture, oriented towards modern European trends, but deeply rooted in the folk worldview. Art Nouveau ornament became one of the leading forms of self-expression of Ukrainian artistic modernism and an important factor in the formation of national artistic identity.

Chivalric Epic Codes in Music and Ballet Interpretations of ‘Tristan and Isolde’

Olena Afonina — 2025-11-25

The purpose of the article is to study the codes of the chivalric epic in musical art and the ballets Tristan and Isolde by David Dawson and A. Pieshkova. The research methodology is based on a combination of comparative-historical, semiotic, musicological, and cultural analyses, which allows the consideration of contemporary composers’ and choreographers’ approaches to the legend of Tristan and Isolde as a process of transforming chivalric epic codes through the lens of Romantic tradition and contemporary artistic practices. The scientific novelty of the work lies in the comprehensive analysis of interpretations of the Tristan and Isolde legend in music and choreography of the 20th–21st centuries through the prism of chivalric epic codes. For the first time, the combination of Romantic tradition with modern musical technologies (electronics, jazz and folk elements) is examined, as well as their role in renewing the symbols of ‘love and death’ in the contemporary artistic context. Conclusions. The engagement of 20th–21st century composers and choreographers with the Tristan and Isolde narrative demonstrates the universality and adaptability of chivalric epic codes. In the ballets by Dawson and Pieshkova, the legend acquires contemporary stage forms. Wagnerian fragments (in Pieshkova’s ballet) symbolise the classical-Romantic tradition, embodying ‘eternal love and death’, monumentality, and philosophical depth. Electronic sounds, as a modern musical layer, add a sense of experimentation and heightened emotionality. Dawson’s ballet ‘Tristan + Isolde’ embodies chivalric epic codes through contemporary choreography and a new score by Szymon Brzóska, combining lyricism and drama with modern orchestral techniques. This approach renews the narrative of love and death, connecting Romantic tradition with 21st-century aesthetics. In O. Messiaen’s Turangalîla, the symbolism of ‘love and death’ is presented as a mystical idea, whereas in H. Henze’s Tristan a critical dialogue with Romanticism is revealed. A common feature of these interpretations is their reliance on Romantic tradition, reinterpreted through contemporary artistic practices: updating musical material with modern technologies, modifications in orchestration, rhythmic freedom, and the introduction of extra-musical layers such as folk, jazz, and everyday sound complexes. This approach not only expands the artistic boundaries of the myth but also confirms its capacity to reflect contemporary cultural and philosophical inquiries. Messiaen integrates rhythmic structures inspired by Indian music (tālas), birdsong, and jazz-like elements (improvisatory piano solos, dynamic orchestral drive). Henze incorporates jazz rhythms and folk intonations into his style. In Tristan, rhythmic freedom, jazz-influenced piano textures, and a ‘folk layer’ of recorded sounds (birdsong, voices) introduce extra-musical elements into the score. Both composers reinterpret, rather than directly quote, jazz or folk elements, integrating them into a contemporary academic musical context as part of an expanded sound world.

Principles of Universalism in the Artistic Work of Štěpán Rak (On the Occasion of his 80th Birth Anniversary)

Violetta Dutchak — 2025-11-25

The purpose of the article is to analyse the main directions of activity of the outstanding Czech guitarist of Ukrainian origin Štěpán Rak (Czech Republic) through the lens of the principles of creative universalism. His diverse compositional legacy, long-term performance experience, and teaching practice not only closely interact but have also shaped the artist’s unique authorial phenomenon in contemporary guitar art. The article is dedicated to the 80th anniversary of Š. Rak’s birth. The main methodological approaches used in this research include historical, axiological, phenomenological, musicological, and cultural studies approaches, as well as methods of synthesis, analysis, and comparison. The scientific novelty lies in the introduction of the synergistic manifestations of the artist’s work into the field of Ukrainian art studies. Conclusions. The universalism of Štěpán Rak is manifested in his synergistic activity as a composer, performer, teacher, editor of early music, photographer, scriptwriter, and even music therapist. This multidimensional approach renders his creativity universally meaningful and accessible to various types of audiences. Creative universalism refers to the artist’s ability to encompass a wide range of artistic forms, genres, themes, and means of expression, without limiting oneself to a single specialization or style. This approach implies a deep integration of different kinds of art (music, literature, theatre, visual art), cultural contexts, and the combination of aesthetic, spiritual, and social meanings. Its main manifestations include the multi-genre and multi-format nature of his compositional work; interdisciplinarity – the interaction of composition, performance, and pedagogy; and intercultural integration – shaping a holistic musical art with universal resonance. The artist’s universalism involves deep social, spiritual, and philosophical meanings, as well as the ability to communicate with different audiences and remain comprehensible in the global artistic space.

Folklore in Musical Art: From Sacred Genres to Popular Music

Olga Zosim — 2025-11-25

The purpose of the research is to identify the features of the interaction of folklore with professional musical creativity of oral and written traditions of academic and non-academic directions, taking into account the specifics of secular and religious folklore. The research methodology consists in the application of historical-cultural, typological, analytical methods, which made it possible to reveal the features of the interaction of folk and professional musical creativity in its thematic diversity. The scientific novelty of the research lies in the fact that when addressing the issues of the interaction of folklore tradition with professional musical creativity of academic and non-academic directions, the genres of religious folklore in their functional diversity were included in the consideration for the first time, which allowed the author to reveal the issue of the folklore component in music, taking into account the specifics of the sacred sphere. Conclusions. Folklore stood at the origins of professional musical creativity and throughout the history of music enriched its genre and style system. Today, the interaction of folklore and academic music is the most studied, among its main forms, researchers distinguish the creation of arrangements of folk songs, the inclusion of folk melodies in their own musical works, and the writing of compositions that are stylisations in the folk spirit. Representatives of non-academic musical trends use similar approaches in working with the folklore primary source, while taking into account the specifics of jazz, rock, or pop music. Special attention is required to study folklore in its interaction with the musical sacred sphere. The folklorisation of religious songs of the Christian tradition followed two paths. The first, which was characteristic of the Orthodox church environment with underdeveloped paraliturgical practices, was marked by the gradual displacement of spiritual songs from the sacred sphere to the everyday sphere. Paraliturgical Catholic and Protestant song practices formed a second type of folk religious singing, which resembled secular folklore in its forms of performance, but remained within the framework of church tradition. Artists representing academic and non-academic musical trends turned to religious folklore, but to a lesser extent than to secular ones, which is associated with the secularisation processes in the culture of the Modern and Contemporary Period.

Opera Culture in Stage and Screen Discourse. Part 2. Directors’ interpretations of opera performers’ biographies

Galyna Pogrebniak — 2025-11-25

The purpose of the article is to determine the specifics of directors’ means of interpreting the creative biographies of opera singers in the theatrical and audiovisual sphere. Research methodology. The methodological basis of scientific studies is the culturological approach. A comprehensive study of directors’ interpretations of the life and creative path of opera performers against the background of artistic culture required the use of an interdisciplinary approach in combination with culturological and art history analysis, which helped to effectively organise search factual materials. The use of a historical and culturological approach made it possible to consider the biographies of opera singers, composers, opera performances and films in the context of the development of artistic culture. Content analysis was useful for studying the collective co-creation of the director with the scriptwriter, artist, cameraman, and actors in the coverage of the creative biography of opera singers on the screen. The scientific novelty of the article lies in the argumentation of the potential of interaction and mutual exchange, of musical, theatrical and audiovisual arts in terms of rethinking the biographies of opera performers; in identifying the features of directorial interpretations of opera singers’ biographies in the stage and screen context, which for the first time became the subject of professional research. Conclusions. It is argued that with the help of directorial and artistic techniques in feature and documentary films, it is possible not only to popularise the life and work of opera performers among a wide audience, but also to manifest the possibilities of modern technologies in the creation and reproduction of opera, the work of composers, conductors, opera singers.

Commercialisation of Contemporary Worship Music in the Context of Evangelical Worship Practice and Music Industry

Tetiana Bulakh — 2025-11-25

The purpose of this article is to provide a comprehensive analysis of the processes of commercialisation of Contemporary Worship Music (CWM) in relation to the worship practices of evangelical churches and the music industry. The study seeks to reveal the ambivalence of this phenomenon, which simultaneously embodies both sacred and industrial dimensions. The research methodology is based on an interdisciplinary approach that integrates musicological analysis, theological interpretation, sociocultural critique, and media studies. A historical-cultural method is applied to trace the development of contemporary Christian music from its countercultural origins to its transformation into a globalised industry. In addition, a comparative approach is used to juxtapose local worship practices with transnational patterns of worship. Scientific novelty. For the first time in the Ukrainian academic context, the phenomenon of commercialisation of Contemporary Worship Music is systematically conceptualised as a multidimensional process that unites theological functions, aesthetic forms, and market strategies. The article identifies key directions of commercialisation, such as the hybridisation of concert and liturgical formats, branding, and global standardisation of repertoire, which allows for a critical evaluation of their impact on the authenticity of spiritual experience. Conclusions. It is demonstrated that the commercialisation of worship music manifests itself through the hybridization of concert and liturgical formats, the globalisation of music brands (Hillsong, Bethel, Elevation), as well as the standardisation of musical language and marketing strategies that influence the content and form of worship songs. This ambivalence generates a cultural and theological tension between the pursuit of authentic spiritual experience and the logic of market efficiency. As a result, CWM emerges as a multifunctional phenomenon that simultaneously performs spiritual, aesthetic, and commercial functions in contemporary religious life.

Optimisation of Arrangement Process with Musescore 4.2

Valery Kozlin — 2025-11-25

The purpose of this study is to examine the features of methods for working with sound using the MuseScore 4.2 music notation software. Research methodology. The article uses empirical, empirical-theoretical, and theoretical research methods. Scientific novelty lies in the development of effective, target methods to manipulate sound in an updated Musiccore editor 4.2. These technologies are dramatically accelerated and improve the process of arranging and compositions for a broad range of instruments (piano, guitar, orchestras, and good scores) and styles. The results reveal new perspectives for musical information technologies in practice of music professionals (composers, producers, sound directors) and in the modern music world. Conclusions. MuseScore 4.2 is a popular music notation software widely used by composers and arrangers to write music for film, television, classical music, and jazz. It allows musicians to create, edit, and print sheet music, as well as play music using synthesised sounds. MuseScore has an intuitive and easy-to-learn interface, making it accessible even to beginners, and allows you to quickly enter musical data from both a computer keyboard and an external MIDI keyboard. The programme supports importing and exporting data in common formats: MIDI, Music XML, and Band-in-a-Box files can also be imported. The programme is compatible with Windows, macOS, and Linux operating systems, providing wide access for users. MuseScore 4.2 has a large and active user community where you can get help and share your work. Developers are constantly working to improve the programme, adding new features and improving existing ones.

Innovative Technologies and Their Impact on Stage Sound of a Pop Vocalist

Svitlana Zaria — 2025-11-25

The purpose of the present study is to analyse the impact of innovative technologies on the formation and transformation of the stage sound of a pop vocalist, with a special emphasis on the evolution of sound monitoring systems. The methodology is based on a systems approach, which allows us to consider pop vocal art as a holistic system that is under the constant influence of technological innovations. Research methodology. To achieve this goal, a historical method was used that tracks the evolution of the interaction of pop vocals and technologies, as well as a comparative analysis to identify patterns and differences. The scientific novelty of this study lies in the comprehensive analysis and systematisation of the impact of innovative technologies, in particular acoustic transducers (microphones) and personal monitoring systems (IEMs), on the transformation of the stage sound of a pop vocalist. Conclusions. Innovative technologies, in particular acoustic transducers and personal monitoring systems (IEMs), play a decisive role in the qualitative transformation of the stage sound of a pop vocalist. Historical analysis has shown the limitations of traditional floor monitors, which created numerous challenges for vocalists, while (IEMs) have made a real revolution, providing unprecedented self-control, intonation accuracy and hearing protection. This technological change has not only increased the technical skill of performers, but also provided psychological comfort, opening up opportunities for free movement on stage. Thus, the combination of these innovations is actively shaping new dimensions in pop vocal art and contributing to the improvement of the quality and professionalism of live performances, bringing Ukrainian pop to a new level.

"Tannhäuser Syndrome" and Traumatic Artistic Experience in István Szabó’s Film "Meeting Venus"

Serhii Zuiev — 2025-11-25

The purpose of the study is to highlight the intertextual ties that permeate the structure of the film ‘Meeting with Venus’ (1991) by I. Szabó, through the prism of a generalized artistic code – ‘Tannhäuser syndrome’. The research methodology involves an interdisciplinary approach that combines semiotic analysis, the theory of intertextuality, the nosographic approach, and historical and cultural research methods. The scientific novelty lies in the fact that, for the first time, the art-historical potential of the concept of ‘Tannhäuser Syndrome’ is realised as a methodological tool for exploring the interaction between opera and cinema, using the structural features of Szabó’s film as a case study. Conclusions. The use of the syndrome of the opera hero as a metaphorical matrix of the created film turns out to be a fruitful directorial approach, as a result of which a voluminous multilayered text with significant intertextual potential appears. Manifesting itself at the levels of characters, authors, and the entire work of art, the ‘Tannhäuser syndrome’ hierarchises the structure of the film, strengthens the meanings embedded in it. In the context of the nosographic approach, a ‘telescopic’ connection of the ‘Tannhäuser syndrome’ with the peculiarities of the life and creative path of R. Wagner and I. Szabó has been revealed in the structure of the film. The functions of musical quotes as carriers of the generalised artistic code of the opera have been determined.

Meditative Tendencies in Ukrainian Academic Music of the 20th Century: From Individual Style to Cultural Phenomenon

Khrystyna Kazymyriv — 2025-11-25

The purpose of the article is to identify and comprehend manifestations of meditativeness in Ukrainian academic music of the second half of the 20th century, tracing its evolution — from individual compositional styles to its establishment as a cultural phenomenon with its own aesthetic and philosophical foundation. Special attention is given to the influence of meditative elements on the listener’s perceptual experience and the formation of an inner dialogue through musical reflection. The research employs an interdisciplinary methodology, combining musicological analysis with a cultural approach, allowing for the examination of specific works by Ukrainian composers in the context of the listener’s perceptive engagement. Scientific novelty lies in the interpretation of meditativeness not merely as a stylistic feature or artistic device, but as a form of spiritual practice integrated into the academic tradition, shaping a distinct type of musical thinking. For the first time, the role of the listener is emphasised as an active participant in the meditative process, capable of deep reflection. The conclusions affirm that meditative tendencies in Ukrainian academic music of the second half of the 20th century are not accidental stylistic phenomena, but rather profound expressions of a cultural need for silence, introspection, and inner dialogue. These tendencies form a new quality of musical thought that unites aesthetic, philosophical, and existential dimensions. In this context, music becomes a space for spiritual practice, where the listener does not merely perceive the sonic fabric but engages in dialogue with their own inner world. Such experience fosters new models of perception, in which music acts as a mediator between the external and the internal, between aesthetic experience and personal transformation. Meditativeness in music opens up prospects for further research, particularly in the fields of perceptual aesthetics, music psychology, and the philosophy of art, where the listener is viewed as an active participant in the aesthetic process, capable of profound reflection and spiritual growth.

Online audio services as innovative tools for creative in musical arts

Viacheslav Ovsiannikov — 2025-11-25

The purpose of the article is to characterise modern online audio services through the prism of underlying technological solutions and to determine the place of online services for use in the development of individual musical activity. The research methodology consists of applying an analytical method and a comprehensive approach, which made it possible to consider the online services Strofe, Soundgym, BBC Sound Effects, National Gallery Mixtape, and Vocalremover as a holistic phenomenon in the context of introducing technological innovations in the development of practical creative activities of modern beginner musicians. The scientific novelty of the study lies in the fact that, for the first time in Ukrainian scientific research, the online services Strofe, Soundgym, BBC Sound Effects, National Gallery Mixtape, and Vocalremover have been identified in the context of creative, technological, and innovative tools that offer significant advantages for the development of practical creative activity, particularly for contemporary novice musicians. Conclusions. Online services such as Strofe, Soundgym, BBC Sound Effects, National Gallery Mixtape, and Vocalremover have a significant impact on the individual development of musicians, facilitating the study of musical styles and rhythms and providing opportunities for creative expression. It has been proven that online services offer a wide range of musical instruments, sound processing and variations of the overall sound. The practical value of music compositions generated by artificial intelligence using the online services Strofe and National Gallery Mixtape has been determined, as well as their important role in the study of musical styles, rhythms, and musical instruments. The innovative technological solutions of the online services ‘Soundgym’ and ‘BBC Sound Effects’ are analysed as a multi-layered tool for developing sound engineering skills and musical design, and attention is focused on the cultural value of the ‘BBC Sound Effects’ archive. The online service Vocalremover is considered as an innovative application for creating backing tracks or separate vocal parts, and the important practical significance of the online service for the rehearsal and performance processes of pop performers is emphasised. A terminological apparatus has been formed based on the definition of categories to which online services belong. It is proven that BBC Sound Effects, Vocalremover, and Soundgym belong to the category of innovative and practical online sound services, while Strofe and National Gallery Mixtape belong to the category of creative and gaming online sound services.

Musical Rhythmology as the Basis of the Applied Specificity of Contemporary Performance Culture

Tetyana Samaya — 2025-11-25

The purpose of the study is to analyse existing approaches to rhythm theory, identify methodological difficulties in their formalisation, and substantiate an interdisciplinary approach to the study of rhythmic structures, taking into account their intonational and perceptual nature. The research methodology is based on a comprehensive analysis of music-theoretical concepts, philosophical ideas about time and its perception, as well as an empirical reflection on performance experience in variety music genres, especially jazz, and other forms of musical art. The scientific novelty of the article lies in the systematisation and synthesis of knowledge concerning rhythmic forms and the dynamics of their performance, as well as in substantiating rhythmology as an independent academic field that integrates theoretical and practical aspects of musical rhythm. Emphasis is placed on the importance of studying rhythmic formulas, metric systems, agogics, and polyrhythm for the accurate realisation of the composer’s intentions and for allowing the performer to fully reveal the emotional content of a work. The conclusions highlight the need for further development of rhythmology within the system of music education and for broadening its methodological foundation in light of contemporary musical styles and present-day aesthetic demands. Special attention is given to the integration of the rhythmological approach into the realm of variety music performance, which fosters a deeper understanding of a work’s rhythmic organisation and a fuller revelation of the performer’s interpretation. The study thus undertaken shapes a holistic conception of rhythm as a dynamic, multidimensional category of musical time, remaining relevant both to contemporary performance practice and to further theoretical inquiries in musicology.

The Stylistic Palette of Songs of the Ukrainian Sich Riflemen’s Struggle: Features of Melody and Poetics

Olga Sapozhnik — 2025-11-25

The purpose of the work is to present the stylistic palette of songs of the Ukrainian struggle during the Ukrainian liberation struggle of the 1910s–1920s; to analyse the significance of song compositions by the Sich riflemen for state building; to form a value-orientation position regarding the understanding of the place and role of song heritage in the cultural identity of the nation. Research methodology. The basis is an interdisciplinary approach, which allowed for a comprehensive understanding of the aspects of the creation and dissemination of wartime songs of the 1910s–1920s by referring to cultural, art, sociological, and musicological sources. The personal approach allowed us to comprehensively present the creative personalities of the authors of songs of the Ukrainian struggle, participants in military formations of the specified war period. Scientific novelty. The art historical, cultural, and musicological characteristics of the songs of the Ukrainian struggle of the period of the liberation struggles of the early 20th century have been clarified through a broad understanding of the revolutionary discourse of the songs of the Sich riflemen. Conclusions. The battle songs of the Sich riflemen are of unique importance for the preservation and reproduction of the polyphonic song heritage of both military and social themes in the 1910s–1920s. The birth of rifle songs was facilitated by real events, facts, names, and incidents from the lives of the ususus (soldiers of the military formations of the USS – Ukrainian Sich Riflemen), which became the themes of poetic, mostly romance, canto-like, hymns, passing on to subsequent generations vivid memories of the glorious past of riflemen. The songs of the Sich riflemen were a source of inspiration for raising fighting spirit, growing Ukrainian patriotism, creating military vocal and instrumental folklore, and for transmitting to the new generation authentic riflemen’s melodies, third sound, semantics, and marching marching music for the folk orchestras of the USS. The song heritage of the Sich riflemen is an inexhaustible source for imitation in the time of the modern struggle of Ukrainians against the Russian invader.

Prelude No. 6 (op. 28) by Fryderyk Chopin: Artistic and Performance Aspects

Rymma Sulym — 2025-11-25

The purpose of the study is to conduct a comprehensive musicological and performance analysis of Chopin’s Prelude No. 6 h-moll, to reveal its artistic and figurative content, features of structure, dramaturgy, and means of musical expression, and to provide methodological recommendations for mastering this work by students of cultural and artistic institutions. The research methodology consists in applying a comprehensive musicological and performance analysis method, which includes biographical, historical-cultural, genre and style methods, as well as various types of analysis of the work: structural (to determine the features of the form, theme, harmony, texture), semantic (to reveal artistic and figurative content and dramaturgy), and performance (to characterise the expressive means in performance). Scientific novelty. For the first time in Ukrainian musicology, a comprehensive musicological and performance analysis of Chopin’s Prelude No. 6 has been conducted, and methodological recommendations have been provided for students of cultural and arts institutions to master this piece. Conclusions. This miniature belongs to the lyrical and mournful pages of F. Chopin’s music. The dramaturgy of the work is based on the conflictual interaction of two contrasting images, which are embodied in different layers of texture. The left hand plays a sincere lyrical melody that constantly strives to move upward toward light and hope (the embodiment of subjective human feelings). However, its development is constantly restrained by the chord accompaniment in the right hand, in which repetitions of eighth notes are monotonously repeated throughout almost the entire piece (embodying tragic objective reality). Under the influence of this ostinato accompaniment, the melody gradually loses its upward direction, becoming exhausted and joyless. Its final sounding is perceived as a sad memory of hopes that will never come true. The main tasks for performers working on this Prelude are defined as a deep understanding of the artistic and imaginative content and dramaturgy of the work, as well as careful work on all the means of expressiveness that need to be directed towards revealing the artistic image.

Phenomenology of Female Violin Performance in the Context of Gender Transformations

Darya Shevchenko — 2025-11-25

The purpose of the present study is to analyse the phenomenon of female violinists in the context of the postmodern paradigm of musical art with an emphasis on overcoming gender stereotypes and forming new aesthetic norms of performing practice. The research methodology is based on an interdisciplinary approach that combines historical and cultural analysis and musicological tools. Methods of comparative studies, sociological analysis of professional development of female violinists, and phenomenological approach are applied. The scientific novelty lies in the systematic understanding of the evolution of female violin performance through the prism of the postmodern paradigm and the disclosure of mechanisms for overcoming gender segregation in musical art. Conclusions. The historical development of female violin performance demonstrates the gradual overcoming of gender stereotypes and the formation of new canons in musical art. In the 21st century, a new norm of gender performance is emerging, where traditional stylistic distinctions are gradually being levelled, leading to the enrichment of the cultural space and the expansion of the palette of performing interpretations.

Interpretation Paradigms of the Song of Volodymyr Ivasiuk ‘I Will Go to Distant Mountains’ in the Music Production System

Viktor Biloblovskyi — 2025-11-25

The purpose of the research. The paper presents a comparative analysis of musical interpretations of V. Ivasiuk’s song ‘I’ll Go to Distant Mountains’ in the paradigmatics of music production. The research methodology consists in applying a comparative method, which made it possible to trace the textual and musical changes in the interpretations of the song ‘I Will Go to Distant Mountains’ by L. Vidash, V. Ivasiuk, V. Zinkevych, and K. Cisyk in different years, and to characterise its musical decisions, which were dictated by the individual producer’s vision of the work. The scientific novelty of the study lies in the fact that in the work, using the example of V. Ivasiuk’s song ‘I’m Going to Distant Mountains’, a new type of analysis of a musical work is proposed, the focus of which is the disclosure of the interpretative potential of a song composition by music producers, whose work is aimed at finding optimal artistic solutions that are able to fully meet the aesthetic demands of the listening audience. Conclusions. The song composition ‘I Will Go to Distant Mountains’ is a landmark work for Ukrainian musical culture. Since its writing by V. Ivasiuk, many performers have offered listeners their own versions of this musical masterpiece. An important function in these interpretations is played by the music producer, who forms the interpretative concept and sound solution of the work, focusing on the listening audience. In the music production system, the basis of the producer’s interpretation is the basic components of the song work – text, melody, timbre solution. The interpretations of L. Vidash, V. Ivasiuk, V. Zinkevych, K. Cisyk showed the peculiarities of their producers’ approaches to updating the song’s lyrics, which undergoes changes, deepening nationally marked elements. The musical component of the song, according to the producers’ vision, is marked by stylistic diversity: in V. Ivasiuk’s version, the emphasis is on the stylistics of the vocal substyle of rhythm and blues doo-wop. L. Vidash’s interpretation combines doo-wop and pop music styles. V. Zinkevych’s interpretation is notable for the use of funk elements. K. Cisyk’s version combines the achievements of classical pop and academic music, which allowed for the creation of a unique performing and producing interpretation that fully revealed the interpretative potential of V. Ivasiuk’s song masterpiece. The musical dramaturgy of the song ‘I’ll Go to the Distant Mountains’ has undergone a transformation: despite the preservation of the verse form with a chorus, supplemented by an introduction and vocalise-coda, the main musical emphasis gradually shifts from the chorus to the vocalise and a thematically related verse, which indicates a departure from hit canons and an approach of the song composition to the traditions of musical academicism.

Ukrainian Sopilka as a Sociocultural Phenomenon in the Global Musical Space

Yurii Hvozd — 2025-11-25

The purpose of the present study is to identify and analyse the forms of representation of the Ukrainian sopilka in the global musical space in terms of cultural and musicological understanding. The methodology employed is founded upon a comprehensive approach, integrating the analysis of the instrument's functioning within folk, academic, and cross-genre ensembles in Europe, North and South America, Australia, and partially Asia. The scientific novelty of the study lies in the systematic analysis of the transnational forms of representation of the Ukrainian sopilka in the musical space of the modern world. For the first time, a comprehensive examination of the instrument as a significant unit of cultural code, embodying authentic elements of sound tradition and adapting to contemporary formats of stage communication, has been carried out. Conclusions. The study’s findings reveal an in-depth analysis of the transnational forms of representation of the Ukrainian sopilka in the musical space of the modern world. Data on the functioning of the instrument within folk, academic, and cross-genre ensembles in Europe, North and South America, Australia, and partially Asia have been systematized. Attention is focused on identifying the aesthetic, genre, and sociocultural models of using the sopilka in the context of global musical circulation. The instrument is considered as a significant unit of cultural code, embodying authentic elements of sound tradition and simultaneously adapting to contemporary formats of stage communication. Special attention is given to the diasporic forms of preserving the sopilka as an element of representative culture.

K. Khachaturian’s Ballet "Cipollino": New Art-Historical Insights on the 1974 Kyiv Premiere

Daniil Sirik — 2025-11-25

The purpose of the article is to examine little-known facts regarding the creative collaboration of composer K. Khachaturian with the ballet troupe of the Kyiv State Academic Theatre of Opera and Ballet named after Taras Shevchenko and its artistic director H. Maiorov. The research methodology of the study employs general scientific approaches, including systemic, art-historical, cultural, and historical methods of analysis. The scientific novelty of the work lies in the fact that, for the first time, previously little-known theatre sources have been analysed, significantly broadening the scholarly perspective on the historical and art-historical materials related to the creation of the ballet «Cipollino». Conclusions. The music of K. Khachaturian, which formed the basis of the ballet «Cipollino», was initially composed for the animated film of the same name, but subsequently assumed a theatrical form, acquiring the structure of a traditional ballet. It encompassed completed choreographic divertissements with a leading role of action-driven dance, while preserving techniques of cinematic montage and narrative-emotional expressiveness. The score of the production was distinguished by simple, song-like melodies, transparent harmonic texture, and a high degree of intonational expressiveness. In mass episodes, the composer transformed intonations of urban folklore and popular variety tunes, while the inclusion of the electric guitar in the symphony orchestra enhanced the rhythmic vitality and color of the music. Special attention was devoted by the composer to the musical unity of the performance and its through-composed symphonic development. The integrity of the dramaturgy was achieved through the transformation of key musical themes, the introduction of reprise-scenes into the structure of the performance, and the use of a multi-sectional rondo form, which ensured an organic interplay of music and stage action. Thanks to his work with K. Khachaturian’s music, choreographer H. Maiorov succeeded in realizing, within the sphere of children’s choreographic theatre, the traditional forms of academic dance (variations, duets, trios, extended ensembles involving the corps de ballet, etc.), aptly conveying the sharpness of imagination with a subtle sense of humour by employing means of free plastigue, acrobatics, buffoonery, and grotesque. Thus, the production of «Cipollino» on the stage of the Kyiv State Academic Theatre of Opera and Ballet named after Taras Shevchenko became an important milestone in the development of Ukrainian children’s ballet art, contributing to the formation of new artistic standards and practices.

Polyphony in Ukrainian Instrumental Music

Volodymyr Stepanov — 2025-11-25

The purpose of this paper is to explore the phenomenon of polyphony in Ukrainian instrumental music from a historical and theoretical perspective, within the context of traditions and contemporary trends in the development of musical art. The research methodology is based on the principles of systematisation and generalisation of information, as well as methods of historical-theoretical and musicological analysis. These approaches made it possible to examine and synthesise existing scholarly studies on the development of Ukrainian instrumental music, to investigate the works of Ukrainian composers, and to summarise knowledge regarding the polyphonic features of their instrumental and symphonic compositions. The scientific novelty of the research lies in its presentation of Ukrainian instrumental music within the framework of polyphony as a characteristic of contemporary artistic thought, while also grounding it in the folkloric origins of Ukrainian melos. Conclusions. The use of polyphonic techniques, particularly the polyphonic arrangement of folk songs – which remains a popular genre in Ukrainian instrumental art – represents a deeply rooted tradition in national musical culture. This is evidenced by the large number of works across genres and performance ensembles. Polyphony in the works of Ukrainian composers can be regarded as a fundamental basis of artistic thinking, underpinning the artistry of musical expression. Polyphonic texture, as a defining feature of Ukrainian folk song creativity and the frequent recourse of instrumental composers to folk sources, endows their works with genuine uniqueness. It also serves as a crucial means of preserving and promoting the folkloric musical heritage while integrating traditions with contemporary academic performance practices.