Applied cultural studies and culture management: research methodology

The purpose of the article is to study the interconnection of applied cultural studies and culture management, develop methodological basis for analysis of efficiency of their integration, define viability of realizing cultural practices in the context of applied cultural studies branch. The methodology. By analyzing and synthesizing the scientific knowledge, a flexible methodological system is created, which enables analyzing the present and predicting the future, and create, not only in theory, but in practice, the culture­creation technologies, thus setting the vector for culture development. The leading methods of research are analysis of scientific facts, juxtaposition of theoretical positions, generalization and synthesis of methodological basis for defining leading scientific approaches to researching applied cultural studies and culture management. The results. Utilization of developed methodology enables examination of applied cultural studies as a mechanism of culture creativity, and culture management as a tool of scientifically justified regulation of this process. Thanks to applied cultural studies, management gains deep meanings, and not only rational management and realization of its own functions, and applied cultural studies is manifested in practice and transforms into a technological plane the meanings and concepts of contemporary culture model. The topicality. It was defined that gnoseological, worldview, logic­gnoseological, scientific content­related, technological and scientific­methodological levels of methodology allows to create the applied cultural studies and culture management analysis model in a substantial interconnection. Justification was provided for some scientific approaches, which are taken as the baseline of methodological analysis of integrating applied cultural studies branch and management in the sociocultural field. The practical significance. According to the results of the study, applied cultural studies have a broad social mission, which manifests itself in creation of advantageous environment of interaction in the object field of culture, constructing mechanisms of implementing innovations in the sociocultural field, and developing future cultural practices models, which will eventually promote establishment of its new formats. In order to achieve this task, culture management implements social marketing, innovative and investment varieties of management technologies, branding, purposeful communication and human resource management, etc., which opens new perspectives of diversifying research of culture management in the context of applied cultural studies.

The problem of adaptivity of the street art into social and cultural environment of the city (Ukrainian context)

The purpose of the article is to carry out cultorologic comprehension of the adaptivity of the street art into social and cultural environment of the Ukrainian city and to define the directions of the city environment humanization. The topicality of the article. The street art became the inherent part of the social and cultural environment of the city, the ground for artistic self­expression, visual ring for discussions, conflicts and a means for promotion and branding of the city. Despite the humanization of the city environment, the issue of adaptivity of the street art into social and cultural environment of the city remains still urgent and open. The methodology is based on application of the hermeneutic interpretation (to define the notion of the “street art” at the modern stage of research), comparative analysis (with the purpose to detect the peculiarities of the process of the street art integration into the cultural landscape of the city environment), structural and functional method (to clarify the prospective adaptation directions of the urban art into the urban cultural environment), axiological approach (to define the role of the street art in the cultural and artificial development of the city). The central position in the research is allotted to culturological approach allowing to clarify the specific features of the street art adaptivity into social and cultural environment of the city, to reveal the peculiarities of the multicultural city environment formation. The scientific novelty lies in theoretic comprehension of the process of the street art adaptivity into social and cultural environment of the city and detection of the priority ways of the urban art integration into the cultural matrix of the city. The results. Variability of the street art interpretation in the context of the city environment was considered. The specifics of the street art existence at the modern stage of the research was defined. The prospective directions of the urban art integration into the cultural landscape of the city was traced: differentiation at the legislative level of the notions “street art” and “vandalism”, application of the urban art in design of the city environment and creation of the city brand, application of the information and communication technologies in creation of the artistic objects, tourist guides, etc. The practical significance. The research results may be used in training the higher education applicants in the social and art fields of knowledge, for example, lecture materials of the disciplines aimed at the study of ХХІ century culture, mass culture, urban science, etc.

The place of the discipline “Fundamentals of Stage Movement: Historical Etiquette” in the professional training of a modern actor and its connection with the subjects of professional and practical cycle

The actor’s flexibility and stretching expressiveness is one of the most important skills in acquiring professional knowledge, which is taken into account in the structure of the pedagogical process of theatrical performances, where a significant role is given to the disciplines of the flexibility and stretching cycle, in particular the basics of stage movement, one of the components of which is historical etiquette, which develops the psychophysical apparatus of the actor in the way necessary for stage activities, trains a sense of beauty and elegance of movement, form and style. However, for today the specific character of mastering stylistic behaviour requires careful scientific review in order to create a modern study of the role of historical etiquette in the flexibility and stretching culture of the actor and the place of discipline in the cycle of professional and practical training, which determines the relevance of this article. The purpose of the paper is to substantiate the importance of mastering stylistic behaviour by a future professional actor in the context of the discipline “Fundamentals of Stage Movement” and general professional training. The methodology. In this article we applied the methods of abstraction and structuring, analytical and comparative methods within the pedagogical approach. The results. The subject “Fundamentals of Stage Movement: Historical Etiquette” is an important component of the system of modern professional training of the future actor, which meets the requirements of modern theatrical art that tends to flexibility and stretching means of expression and nonverbal language. By mastering the specific features of stylistic behaviour and flexibility and stretching of different historical epochs, the future actor acquires appropriate professional competencies and is able not only to accurately embody any historical image, but also to improve the unity of interior and exterior technology, increase the overall level of flexibility and stretching culture, expand the range techniques, to acquire skills of creating flexibility and stretching characteristic features of contemporary images, to reveal creative potential and to realize it more widely while mastering related disciplines (“Actor’s Skill”, “Dance”, “Stage Fight”, “Fencing”, “Stage Language”, “Vocal”) , which will make it in demand in further professional activities in both theatre and film industries. The scientific novelty. The paper is the first attempt for substantiating the necessity of studying the stylistic behaviour and historical etiquette by future actors in the context of further realization of their creative potential in professional activity. The practical significance. The materials of the article can be used in the practical activities of teachers of stage movement and in creating further research in this area.

The specifics of composer’s interpretation of the genre of prelude in Samuil Feinberg’s creativity

The aim of the article is to determine the specifics of the composer’s embodiment of the prelude genre in the works of S. Feinberg on the example of two cycles “Four preludes” op. 8 and “Three Preludes” op. 15. The methodology is based on an integrated approach and includes analytical, comparative, as well as structural-functional and genre-style methods. The results are based on the identification of features of the composer’s interpretation of the piano prelude genre in the works of S. Feinberg. Due to the current trend towards the discovery of rarely-performed music, there is a growing interest in the works of S. Feinberg, whose compositional heritage is still poorly known by a wide range of performers and scientists. Some of his works, which are of undoubted artistic value, remain out of the field of view of researchers. This remark is especially appropriate in relation to the genre of prelude in the artist’s legacy, which is represented by two cycles of “Four preludes” op. 8 and “Three Preludes” op. 15. Despite the fact that the composer addressed him in the early period of his work, the originality of the composer’s writing style is clearly manifested in this genre. In the context of the relationship between the compositional style of S. Feinberg and the Scriabin creative tradition, key points are identified that distinguish the manner of interpretation of this genre. It is noted that the originality of composer’s thinking is manifested at various levels of organization of a piece of music. Focusing on the Scriabin’s style of the second period of creativity, which manifests itself in laconic thematism and the absence of a pronounced сantilena, S. Feinberg reinterprets it in figurative, semantic and pianistic terms. The manner of musical utterance of S. Feinberg is marked by greater emotional tension and expression. The composer uses a richer texture, which presents a wide variety of types of small and large piano techniques, with the latter prevailing. It applies elements of polyphonic development. Thanks to this approach to the textured solution, the virtuoso component is even more pronounced in preludes. The scientific novelty of the results obtained lies in the fact that for the first time in Ukrainian musicology, an attempt was made to comprehend the features of the interpretation of the piano prelude genre in the works of S. Feinberg, as well as to trace the features of the creative reinterpretation of the Scriabin composer tradition in the early period of S. Feinberg’s work. The practical significance of the study lies in the possibility of using its results in higher educational institutions of art education when working on the works of S. Feinberg in the class of special piano, as well as to deepen ideas about the specifics of the composer’s style of this artist.

Piano culture of South and Latin America: features of formation and transformation

The purpose of the article involves a thorough study of the original sources of the emergence in Latin and South America of such an instrument as the piano. In addition, it is necessary to trace the historical stages of the transformation of the composer’s style — from European classical to a new ideological and artistic musical embodiment of a specific Latin American culture. The methodology. The main research method in the article is based on next principals: cultural-historical, comparative-typological, structural, analysis and synthesis and ascent from the abstract to the concrete. The results. The conducted historical and musical analysis revealed the importance of the piano for the formation of the musical culture of South and Latin America. Thanks to touring artists from Europe, the piano gradually gained popularity. Its evolution has gone from European imitation to the formation of its own identity in world music culture. The path of Latin and South American composers to national identity took place through rethinking and interpreting the musical styles of past eras (baroque, classicism, romanticism) and folklore. During the period of experiments, study and introduction of national cultural elements, piano works by composers of Latin and South America had a high level of professionalism and popularity. The scientific novelty. It is that the work is a comprehensive scientific study, which substantiates a holistic system of evolution and transformation of piano culture in South and Latin America. The practical significance. The materials of the article can be used in further research on the phenomenon of Latin America piano culture, as well as in classes on the history of piano art and world music history.

Reproduction performance means of the piano work texture program (on the example of the cycle “Shevchenko’s Suite” by B. Liatoshynskyi)

The article is devoted to revealing the peculiarities of the texture program performance reproduction of a musical work. Based on the consideration of the textural program as a sequence of changes in the musical performance during the process of developing the form of the work, the performer-pianist must build the appropriate means of performance: artistic and technical ones. An important role here belongs to the author and the editorial remarks, the content of which, however, is quite conditional and requires individual performance correction. The topicality of the chosen topic lies in the need for in-depth consideration of the problems of musical texture and its attributes in the piano-performance specification. The purpose of the research is to identify the performance component of the piano work textural program, to propose an algorithm for its analysis on a specific example of B. Liatoshynskyi’s cycle. The methodology: the article uses a set of general scientific and special musicological approaches for developing the content of the stated topic. Among them are the following methods: systematic and structural method, it is aimed at revealing the essence of the phenomenon of the musical work textured program; a deductive method, it determines the course of research in the direction from a general part (textural program of a musical work) to a special (specificity of textural performance during a piano work) and a specific one (textural programs of plays of the cycle by B. Liatoshynskyi); genre and stylistic types of analysis from the point of view of reproduction of these phenomena in textural programs; texture analysis as a kind of musicological analysis; performance analysis, which is aimed at identifying the features of the textural attributes of the work under consideration. The results of the study show that the process of a piano work performance in the direction of its full interpretation is inseparable from analytical observations on the texture program and its attributes. The set of analytical and performance-technical procedures has as its ultimate goal the act of performing a piano work, in which the composer’s intentions are reproduced by means of the individual style of the pianist. The novelty of this study is the extrapolation of ideas about the piano work textural program on the interpretive activities of the performer. Embodying own understanding of the textural process and its attributes in the interpretation, the performer demonstrates personal version of the work sound image, revealing the means of the drama and composition art features. The practical significance of the study lies in the possibility of using its provisions and conclusions in the courses “Musical Interpretation”, “Analysis of Musical Works”, “History of Piano Performance”, as well as in classes specializing in “piano” for bachelors and masters of the higher educational institutions of art and culture of Ukraine. Conclusions. Thus, the concept application of the piano work “texture program” in relation to the activities of the performer-interpreter raises a number of issues related to the means of the performance center: dynamics, articulation, agogics, in their vision by the musical composer and directly the performer. In this context, the identification and implementation of the piano work textured program gives the key to the disclosure of its ideological and artistic content, a clear understanding of the drama and form features, implemented in the act of performance.

Semantic space of “Well-Tempered Clavier” of J. S. Bach as a basis of the performing concept

The relevance of the article is due to the issue of formation in a modern multicultural space of the new image of the executor — the carrier of new senses and cultural memory, as well as need for creative comprehension of the world treasury of musical art in the artistic realities of modernity and research on the specifics of its modern performing versions. The purpose of the article is to outline the determinants and the specifics of the semantic space of “Well-Tempered Clavier” of J. S. Bach as conceptual basis of the performing concept. The methodology of the article is based on the principles of a comparative approach, which enables the use of research tools for cultural studies and musicology, in particular historical, historical-contextual, genre, hermeneutical and semiological methods and approaches. The results. The article outlines the following factors of conceptual polyphony of “Well-Tempered Clavier” as accumulation and artist experience of reflection and protecting the world in symbolic forms, the significance of the synthesis of arts and the unity of emotion, image and symbol on the parameters of baroque aesthetics, the connection of “Well-Tempered Clavier” with the creativity of the artist, resonance of symbolic forms with axiological structures of historical and cultural epochs. The article substantiates the significance in pluralistic symbolic field of the works: semantics of tonality and tempo, which acts as a construction of performing chronotope; sacred melos with perceptually fixed semantics, means of embodiment of which is citing, representation as complementary unity, allusion-variable reproduction; numeric symbolism; rhetorical figures, sound treatment — visualization of the musical process; fixed in the context of European art semantics — in particular “mirror in the mirror” (on micro — and macro levels of the of the music text organization); the genre “ambivalence”, which determines the superposition of different variants of “genre’s memory” and enables the creation of an artistic-reflective arch between the era of Baroque and postmodernism, designated be the leveling of the genre. The scientific topicality of the article is due to the clarification and systematization of representations regarding the specifics of the semantic field of “Well-Tempered Clavier” of J. S. Bach and the positioning of conceptual polyphony of the work as the basis of performing concepts and text. The practical significance of article is determined by a direct possibility of applying research results in the performing practice. Conclusion. Performance of “Well-Tempered Clavier” of J. S. Bach on the basis of the interiorization of symbolic forms is a guarantee of its performing “reading” as an embodiment of the process of being human in a cross-cultural dialogue, deploying self-reflection in the space of a representation of postmodernism paradigm as a multidimensional cultural message, in which the axiological experience of humanity is concentrated and the eternal problems of its spiritual being are actualized.

Essence and specificity of the work of the moderator (conference, ceremony master, MC and showman)

The aim of this paper is to highlight the essence and features of the skill of the host of the event project, as well as to clarify the concept of “image” as a component in creating an individual image of the host in order to succeed in career growth, communication with the audience. Topicality. With the development of the creative industry and the expansion of various forms and types of art projects and shows, there is a growing need for professional presenters who must have brilliant skills of communication with the audience and improvisation, behavior, personal image improvement. Therefore, the skill of the presenter constantly needs to improve and master new opportunities, both personal and professional. It is here that you can see the relevance of this research topic. Research methodology The purpose and objectives of this study determine a comprehensive approach to the choice of research methods. The main ones are: observation, which helped to analyze the moral and ethical aspects of the image of the host of events; comparison of requirements for professional leaders of other categories. The historical method is used to analyze phenomena in the process of their occurrence and in the dynamics of the development of the art of entertaining. A systematic approach to the study made it possible to comprehensively consider the phenomenon of leading events. Results. Several categories of presenters are considered, which differ from each other in style and genre of work, personality of the image and the audience to which the presenter’s attention is directly directed. The work of the entertainer as the main chain in the concert program is analyzed. It is determined that not only personal characteristics are needed for the formation of components, namely: image — external: hairstyle, appearance, clothing, cosmetics, etc., internal: character, attitude to work, attitude to the professional level, etc. It is proved that the conference is divided into five parts, namely: introduction, business news, interludes, the host’s own number and the end of the conference and concert. It was found that a specific feature of the host’s work is the ability to conduct interesting and dynamic competitions-games with the audience. It is noted that high-quality event management depends on good work and skill of the presenter, because the working conditions and performance of tasks, sometimes leads to an integral part of the competence. Novelty. The scientific novelty of the research is the expansion of ideas about the specifics of the work of a presenter in the field of modern performing arts. The analysis of the development of the art of the presenter, its structure, categories and characteristics gives the chance to understand features of a profession of the presenter in a modern society, and also to define prospects of its development. Practical content. Prospects for further research in the field of studying and forecasting trends in the event industry, laying the foundations for further theoretical research in the field of mass forms of dramatic art on the example of modern art practices.

Collage as the basis of creative methodology of Sergey Paradzhanov

In this article we have analyzed the artistic features of S. Paradzhanov’s art. We have investigated the interaction of Paradzhanov’s cinematic works with his collages. Analysis of creative work of S. Paradzhanov suggests that the master deliberately abandons a number of opportunities provided by the director of traditional cinematic language, manifesting such an “screen painting”. Analysis of films, artworks and screenplays by S. Paradzhanov allowed us to identify three main features of his collage tools: 1) work with color and visionary elements; 2) features of visual representation of texts; 3) textures and volumes of images in the frame. Collage techniques have a number of purely visual properties, which are reproduced in different ways in cinematic artistic background. It is likely that S. Paradzhanov, fully aware of this peculiarity, emphasized certain qualitative features of the collage technique, achieving the desired effect in the frame. That is why, in our opinion, Paradzhanov’s collage could exist only within the framework of author’s cinema in the aesthetics of Soviet art. Postmodernist thinking came to Soviet art through author’s cinema, where S. Paradzhanov was one of the key figures.

Walking as a cultural practice of perceiving of the city space through corporeity (based on the work of Michel de Certeau “Walking the City”)

The topicality of the work is determined by the need to expand the theoretical base of the Ukrainian urbanism and the formation of the own problems of cultural studies of urban space. The purpose of the article is to comprehend the aspect of corporeity in the concept of Michel de Certeau’s walk (based on the work “Walking the City”) as a cultural practice. The methodology. The research was carried out on the basis of the analysis of the source base and scientific literature with the help of comparative analysis, semiotic and hermeneutic methods, as well as with the involvement of phenomenological and biographical approaches. Generalization was carried out using the modeling method within the framework of the cultural approach. The results. The peculiarities of the concept of Michel de Certeau’s walk as a form of attracting the subject of culture to the urban space are revealed. The walk is investigated as a cultural practice of urban space assimilation, realization of active civil position and formation of individuality. It is shown that corporeity acts as a way of interacting the subject of culture with the space of the city. It is shown that the subject’s corporeity combines spatial and semiotic practices of assimilation of urban space. Actions to form a symbolic dimension of the culture of the city are shown as equivalent to the practices of spatial activities of the subject. It is noted that the cultural practice of Michel de Certeau’s walk becomes consonant to the mechanics of forming the image of the city of Kevin Lynch. It is emphasized that the combination of spatial and semiotic practices in the activity of the subject leads to the formation of the cultural space of the city. The cultural practice of walking in Michel de Certeau’s “Walking the City” is shown as a form of subject integration into the city space. The isolation of the aspect of corporeity made it possible to see the walk as a holistic form of the subject’s activity, which combines spatial actions with practical assimilation of the city together with practices of constructing the image of the city. The formation of the culture of the city, therefore, is determined by the intensity of the subject’s practices in it. The scientific novelty. In this study for the first time we have explored the concept of Michel de Certeau’s “Walking the City” as a cultural practice. Also for the first time the corporeity aspect of the walk as a form of assimilation of the city space by the subject of culture is studied. The practical significance. The results of the study can be used in teaching courses on city culture, urban studies, museumification of urban space, corporeity of culture, semiotics of culture. Also scientific achievements can be included into urban projects of modern public spaces of residential areas of Ukrainian cities with the involvement of civil activists and local residents.