The problem of stage culture in amateur vocal-instrumental group

The purpose of the article. The aim of the article is to identify and reveal aspects of the development of amateur vocal art, the qualities of a musician and teacher who are aware of the values of artistic action and fully immerse, perceive, feel and immerse themselves in the content of works. The urgency of the problem is due to the fact that the training of future musicians and teachers should be based on their competence and awareness, which will lead to the quality professional training of amateurs in vocal and instrumental groups who will have fundamental abilities and master the art of seeing, creating and feeling. Methodology. Leading methods of research of this problem are methods of analysis, synthesis, comparison, and historical comparison, which will help to recognize the features and professional competencies and skills that make up the stage culture of an individual member of an amateur folk group, revealing issues from a broader paradigm to narrower and clearer understanding systems. Scientific novelty. The article reveals and substantiates the essence of the concept of "stage culture", current trends in vocational training, considers the theoretical foundations of this set of qualities, its impact on teaching and the gradual formation of structural components of the phenomenon, its relationship with amateur and folk vocal and instrumental teams; components of stage culture, ways of its formation in artists and its influence on folklore and folk art are revealed. Conclusions. The materials of the article are of the practical and theoretical value for students, future teachers, music teachers, artists, vocalists, and other artists who are engaged in professional and personal self-development and want to have such an integrated quality as stage culture that will significantly improve their abilities and skills. will contribute to the success of music and pedagogical work in schools and independent creative activity. Keywords: folk groups, musician, art, traditions, folklore, pop and stage sphere.

Features of the Ukrainian performing school of opera in the context of the evolution of European traditions

The purpose of the study is to consider, analyze the features and main aspects related to the development of the Ukrainian performing school of opera in the context of the evolution of European traditions. Methodology. Leading research methods are historical-genetic, comparative, methods of genre and stylistic analysis, and the method of performance analysis. Scientific novelty. The article examines the main aspects, characteristics, and methodological principles of Ukrainian and European musicology, which opened new opportunities for a more complete, unbiased study of the path that had to overcome the national music culture, opera. Conclusions. As conclusions of the research results, we can say that a detailed study and study of the history, present, and trends of national music culture contributes to the development of modern performance. Absolutization of the research approach can lead to significant losses in the scientific interpretation and interpretation of artistic trends and even certain distortions in the creation of a holistic view of musical processes. Keywords: performing school, opera art, musical art, musical culture, Ukrainian music.

Biography in the aspect of cultural communication of an artist and audience

The purpose of the article is to reveal the communicative potential of the master's biography, to prove its influence on the cultural dialogue between humanity and the achievements of the artist. The research methodology is to apply a number of approaches: analytical – to comprehend the literature on the topic of the article; interdisciplinary - for a comprehensive study of factual material and in obtaining new knowledge; systemic using a whole range of methods (biographical, semiotic, culturological, hermeneutic, historical, theoretical generalization) – comprehending the stated quest, etc. Scientific novelty – for the first time in the national humanities, biography is explained as the way of civilizational contact between the creator and the public, the translator of the most important meanings of the era. Conclusions. The publication states that the artist's biography is an important component of the communicative space of nowadays. It embodies the anthropological dimensions of history, the worldview of the day through the coverage of the hero's life, his significant achievements. The author of the chronicles builds the life strategy of the master in such a way that he becomes clear to the recipients of any period. An analysis of the chronicle reveals the richness of symbolic forms of cultural contact associated with works of art, epoch-making features and social circumstances, and so on. In unity, they affect the perception of the artist's image. This process is carried out by the public as a result of decoding spiritual information in accordance with existing norms, traditions of a particular time, awareness of the existential and creative experience of the character. Biography as a means of communication demonstrates freedom from ideological, social limitations, as it allows communication of individuals of different eras, removes territorial, speech, social, and others barriers. Due to their ability to embody the universal concepts of civilization, the chronicles express not only the story of the artist, but also allow the modern recipient to express himself. Thus the listener (viewer) through the biography is in contact with the master, his time, humanity. Keywords: biography, cultural communication, artist, audience.

Principles of choreographic education in primary art institutions

The purpose of the article is to determine the basic principles of choreographic education in primary art institutions. Methodology. The methods of analysis and synthesis are used in the work. Based on the analysis of classes with different age groups of children on the basis of the choreographic department of Kaluga Children's Music School of Ivano-Frankivsk region identified the basic principles of choreographic education, which contribute to the improvement and development of children's performance, creative thinking, discipline and aesthetic taste to dance. The method of synthesis allowed us to determine the main criteria for teaching choreography for preschoolers. The scientific novelty of the work is that for the first time the basic principles of education and choreography lessons were comprehensively studied. The paper analyzes the trends in the development of choreographic education in primary art institutions; the concept of "children's choreography" is defined as one of the bases of formation of dancing abilities and "foundation" for further development of children in the direction of choreographic art;. It is investigated that the newest information technologies in the field of choreographic art allow: to strengthen the efficiency of knowledge of children; create a positive impression in choreography lessons; provide high educational diversity; increase success; to improve performing skills; rationally organize educational indicators; increase academic achievement. Conclusions. The author concludes that the use of the latest methods and techniques of teaching choreography will lead to high success, increase performance, which will determine in the future the path of children to further professional choreographic education. Keywords: children's creativity, dance, performing skills, didactic requirements, teaching methods.

Art communication as culture component of production activity

The purpose of the article is to identify the specifics of art communication in the culture of production both in the process of filmmaking and in the distribution (distribution) of film products. Methodology. The method of theoretical analysis of the culture of production activity as a phenomenon of the postmodern and postmodern epoch was used in the elaboration of the topic; the comparative-historical method was used in the analysis of the evolution of the producer's activity in cinema; empirical method made it possible to address the practical component of film production and distribution as structures of socio-cultural and economic activities aimed at the needs of society; analytical method and methods of scientific analysis, generalizations have come in handy in the process of establishing the specifics of art communication in the context of creative and production aspects of the film producer. The scientific novelty of the study is that the problem of art communication of the producer in the context of his creative and production activities is the subject of a special comprehensive study; the meaning of the concept of "art-communication" as certain specific integrity and unity of interconnected elements is argued and clarified. Conclusions. Acquaintance with the materials of this study enriches the knowledge about the specifics of art communication as a component of the producer's activity in the culture of film production in the process of its evolution and is the scientific basis for their use in courses on theory and history of culture, including cinema, film production, film directing. Keywords: culture, art communication, cinema, film producer, film director, film.

Narrative essence of language content in the expression of the composer evaluation of their own creativity

The purpose of the article is to investigate the narratives of contemporary Ukrainian composers in the context of their assessment of their own work and the actual existing musicological components of each work: its purpose, the whole conglomeration of musical means of expression, and their multidimensional and multifunctional context. Attention is focused on the problem of inconsistency of the author's linguistic content in expressing his own ideas about his work, with the actual state of affairs, in terms of musicological logic, psychology, etc. The research methodology is based on the analysis of the sphere of expression of human thinking by R. Bart, K. Bremon, F. Jameson, T. Tytarenko, Ts. Todorov, E. Tshebinski and others. Also, studies by G. Gadamer, M. Heidegger, P. Reeker, R. Harre, which consider the narrative as a discursive structure, formed on the basis of their own experience. In the field of musical art, the problem of narratology is paid attention to in the works of N. Gerasimova-Persidskaya, O. Zinkevych, Y. Chekan, and some other musicologists. Scientific novelty. For the first time in the work a comparative analysis of the subjective-authorial understanding of composers of the narratives of their own work with the musicological, culturological, and socio-political context of the existence of the individual, to establish the artistic conceptuality of some of their works. Conclusions. It is established that the assimilation and awareness of meaning are possible only through certain messages that can have many meanings, and decoding them together can take any form. Thus, at the junction of the meanings of the narrator and the listener, his interpretive understanding appears, which becomes the basis of the final conclusion. Keywords: language content, creative narratives, artistic conceptuality, decoding.

Cultural studies methodology of gender analysis of works of fine art (on the example of the story "Judith and Holofernes" in European painting)

The purpose of the Article. Based on the generalized object of gender research as the interaction of men and women in society, to test the cultural studies methodology of gender analysis of works of fine art on the example of the story "Judith and Holofernes" in European painting. The methodology consists of a combination of a number of general theoretical: analysis and synthesis – and special methods of scientific research: chronological, problem-chronological, historical-comparative, iconological, iconographic methods, method of formal-stylistic analysis, method of semantic analysis of visual series, and biographical and retrospective methods. The principle of psychoanalytic interpretation of art as a form of sublimation of the subconscious was taken into account. Scientific novelty. The study allows gaining new knowledge about the specifics of gender analysis in the field of art history and the application of its cultural studies methodology to the analysis of works of fine art. Conclusions. Applying the described methodology of analysis to the paintings on the gender-relevant plot "Judith and Holofernes", created by women artists and male artists, allowed us to conclude: 1) in quantitative terms, paintings by men are an order of magnitude higher than paintings by women artists; 2) with the exception of two paintings by Artemisia Gentileschi, whose composition is determined not only by an example of a similar painting by Caravaggio but also by dramatic events in the artist's life, the composition is based on the post-factum principle, 3) among the paintings by male artists stands out a quantitatively significant group of works in which, starting with "Judith" by Giorgione, there is an eroticization of the image of the protagonist, thus objectifying the erotic fantasies and desires of men; 4) in parallel with eroticism, thanatological objectification is formed: "eroticized death" (R. W. Whalen) and men's subconscious fear of "women's power". Keywords: cultural studies methodology of gender analysis, painting, European painting, "Judith and Holofernes", Artemisia Gentileschi, Elisabetta Sirani, Fede Galizia, Virginia Vezzo, eroticization of the image, thanatological objectification, gender-relevant plots.

The artistic perspective of V. Vynnychenko's creativity in the context of the stage solution of his literary works

The purpose of the article is to highlight different aspects of the interpretation of artistic experiments of theatrical performances based on the works of V. Vinnichenko, taking into account the general concept of their artistic and aesthetic specificity, genre and stylistic features, and the original artistic manner of the playwright. The research methodology consists in the application of the cultural-historical method to analyze the interpretation of V. Vinnichenko's dramatic works, peculiar key creative processes, director's interpretations of his plays as future stage forms; art history method for comprehending the artistic and creative activities of a playwright in the context of evolution and progressive ideas in the art of theater; a modeling method for analyzing the model-setting of a specific period of the playwright's work; a structural-functional method for the study of the main guidelines in the organization of the creative process over a stage work. The scientific novelty of the research lies in carrying out a figurative-stylistic, artistic compositional analysis of the evolutionary process of V. Vinnichenko's creativity as a modernist playwright of the early twentieth century. Conclusions. There is every reason to state that the appearance of the figure of V. Vynnychenko was an extraordinary event: his phenomenon also lies in the fact that he is one of the few in Ukrainian and world literature who became a classic during his lifetime. Based on a comparison of literary sources and performances, it can be noted that there was an experiment and a search for new stage forms. And the peculiarities of the interpretation of V. Vinnichenko's works in the Ukrainian theater lie in the fact that it was determined by different components of the stage performance, as well as the socio-historical and cultural contexts of the life of Ukraine, which determined the experiments, methods, and forms of interpretation of the literary basis. Keywords: V. Vinnichenko, playwright, theater, director, performance.

Musical and theatrical reflection of the creative practice of N.N. Sinelnikov: a cultural dimension

The purpose of the article is to carry out a culturological dimension and define as a synthetic phenomenon the musical-theatrical aspect of the artistic activity of the outstanding actor, director, theater teacher, and entrepreneur Mykola Mykolayovych Sinelnikov (late 19th – early 20th century). The methodology of research is based on the use of a complex of general scientific and specific scientific methods in accordance with the cultural discourse. In order to study the problem in a historical sequence, the historical method was applied. Setting the goal of illumination and analytical measurement of the constituent components of the problem under study, the system-analytical method is applied. The system-structural method is used to study a cultural phenomenon as a system of interrelated and interacting elements. The hermeneutic method is used to study and interpret the theoretical provisions of the problem under study. In order to study the life path of a creative person, illuminate her inner world, and understand the motives of her activity, the biographical method is used. The generalization method was applied to determine the general conclusions of the study. The scientific novelty lies in the musical and theatrical reflection of the creative phenomenon of the outstanding artist-reformer of the late 19th – early 20th centuries Mykola Sinelnikov. Conclusions. Consideration of the issue raised in the article made it possible to state the importance of the presentation of the creative practice of N.N. Sinelnikov as a representative of musical and theatrical syncretism. Research of the phenomenon of N.N. Sinelnikov made it possible to illuminate the system of artistic principles of the creator, which fully corresponded to the nature and content of the modern era. It was determined that the musical and theatrical segments of N.N. Sinelnikov’s works are harmonious integrity, that is, they represent musical and theatrical syncretism. Keywords: musical and theatrical syncretism, a creative phenomenon, syncretism, cultural studies, theater, music, musical and theatrical reflection, socio-cultural space.

Activities of music societies of Eastern Galicia as a prerequisite for the development of professional performance (ist third of the XX century)

The purpose of the article is to present the activities of music societies in Eastern Galicia during the late nineteenth – first third of the twentieth century, which laid the foundations for the development of national professional music education and performance, including piano. The methodological basis of the publication is historical-stylistic and comparative approaches, methods of historical-cultural discourse (V. Cherkasov), fundamental historical-musicological positions (L. Korniy, L. Kianovska, etc.). Problems of musical culture, education, and performance were considered by Galician musicians of that time (S. Lyudkevych, V. Barvinsky, N. Nyzhankivsky, etc.) in the broader context of national and cultural life, cooperation of Ukrainian cultural and educational societies, the active position of composers, performers, and teachers, which contributed to the development of professional education and performance, music culture in general. This methodological approach was continued by modern musicologists (M. Zagaykevych, L. Kiyanovska, L. Korniy, L. Mazepa, M. Cherepanin, etc.), who interpret the cultural and artistic life of Galicia in the second half of the nineteenth - early twentieth century. as a turning point in the process of formation of professional musical culture, due to the adoption of the so-called "cultural autonomy" (1867). Scientific novelty. A significant role in this process was played by music centers founded by the Society for the Distribution of Music in Galicia, the Galician Music Society (hereinafter - the Polish Music Society), the GMT Conservatory (1854) as the main musical educational institution in Galicia in the second half of the nineteenth century. The role of Ukrainian music societies was important, most of all – the centers of "Boyan" and "Union of Boyans", Music Society M. Lysenko, which became the basis for the establishment of the Ukrainian professional music institution – Higher Music Institute (1903), then - Lysenko Higher Music Institute (VMIL), the activities of an extensive network of its branches in various cities of Galicia. Significant educational activities of cultural, educational, and musical societies have encouraged professional composers to create original musical works, arrangements of folk songs, compiling the appropriate professional repertoire. In turn, this necessitated the development of professional music criticism in the Ukrainian periodicals. Analyzing the socio-cultural context of music societies, we relied on the developed classifications of their activities (N. Kobrin). This allowed us to outline the role of numerous monographic and thematic concerts dedicated to Ukrainian and Western European composers, solo concerts of prominent Ukrainian vocalists, and instrumentalists in the growth of performing skills of Ukrainian artists of this period. Conclusions. Conclusions are made about the decisive role of the network of cultural, educational, and musical societies of Eastern Galicia in the late nineteenth - first third of the twentieth century. in the process of development in the region of musical performance and musical culture in general. Keywords: musical culture of Western Ukraine, end of XIX – first third of XX century, cultural-educational and musical societies, musical performance.