Five preludes of Mykola Roslavets in the reflection of academic and avant-garde trends of his time

The article considers a set of problems related to the study of piano art of the early XXth century and, in particular, the piano work of Mykola Roslavets. It provides the characteristic of the main vectors of piano miniature development, its genre and construction diversity. It emphasizes the composers' creative search in the early XXth century, the desire to embody new, not yet tested compositional techniques. The article notes the influence of traditional and avant-garde trends on the compositional style of that time and their synthesis in a single author's style. It describes five preludes for piano by Mykola Roslavets as one of the most significant achievements of the mature period of the artist's work, which fully reveals the key features of the composer's sense and desire for syntheticity and a new, intellectual, system of sound organization. The five preludes are stated to not have an accidental cycle structure reflecting the influence of many styles and compositional techniques, accumulating the achievements of previous musical epochs and sprouts of the latest, quite important musical trends in piano music. The author notes undoubted influence of Mykola Roslavets' work on the further development of musical art, its relevance and modernity. The proposed analysis should contribute to a more complete understanding of the history of piano music of the first third of the XXth century, elucidate the origins of innovative composers, undeservedly overlooked by musicologists, performers and listeners, and replenish the performing repertoire with piano works by Mykola Roslavets.

Sacred art as the highest manifestation of a person's spiritual worldview

The article is devoted to the problem of the formation of a spiritual worldview, the spiritualization of a person, a meeting with the sacred world, God, which is very relevant in the modern technogenic world, through communication with the sacred art, which has its own symbolic language, its own characteristic for each religion, signs that are important for a person as a spiritual, in its main essence, being. The author reveals the nature of sacred art, compares attitudes towards it in the Middle Ages and in our time, reveals the deep symbols of sacred architecture and painting in Christianity, sacred architecture in Islam, and painting in Chan Buddhism. A comparative analysis of the symbols of the sacred art of these religions showed the profound unity of their main ideas: the idea of creating the world in the Void (Creatio ex Nihilo), the idea of the creation of the world by Light, the idea of the manifestation of the Word of God in Christianity and Islam; revealed the common goal of the sacred art of these religions — unity with God, the spiritual world, nature by getting rid of their egoistic subjectivity; discovered a similarity in the creative process of an icon painter in Christianity and an artist in Chan Buddhism and led to conclusions about the synonymy of the concepts of God in Christianity, Allah in Islam and Emptiness in Buddhism.

Sets of signs denoting the year on a Paleolithic artifact from the Baikal region and a towel from Podillya

The offered concept states that primitive people operated "sacred" sets. The author considers them to be sets of signs on archaeological artifacts and folk ornaments conveying the cycles of heavenly bodies and the physiological cycles of a woman reduced by certain numbers. These are stable sets having become entrenched in mythology and acquired the status of "sacred". Based on this concept, the sets of signs have been studied on the Paleolithic artifact from the Baikal region. Two groups of signs have been distinguished: circles (there are 364 of them) forming sets, and signs (there are 7 of them) delimiting the sets. The author presents the idea that the artifact superposes the days of a year (364) and woman's pregnancy (280) sets. For this purpose, ancient people depicted the "sacred" set of 88 located in the center of the spiral in a color different from the rest of the spiral. Thus, according to the author, they indicated the subtraction of the "sacred" set of 88 from the set of the year. Since the difference between them (364-88 = 276) is four days less than the set of 280, the deficiency was made up by four delimitation signs indicating the action of addition. The research considers two options for superposing the yearly and pregnancy sets. To compare, the author analyzes the sets of signs on the ornament of a towel from Podillya. This analysis shows that these sets are sacred and add up to a year (364). The author assumes that the "sacred" sets on the artifacts of ancient people and on ornaments could appear as summands for obtaining great sets (365/364, 280, 224, etc.). This approach opens up a new perspective in the study of sets on artifacts and ornaments.

The objective contents of an artistic text: from phenomenology towards mereology

Textual semantics is studied on the basis of subjective — objective reciprocal feedback, where the objective field is reconstructed from the eidetic images with the inversion of their inner relations. The priority belongs to the textual inner world, and the objective field is determined with an epoch's concrete historical conditions. Mereology is developed within the framework of phenomenology as the logical theory dealing with the relation of "part –whole" that in difference to hermeneutics is based on the irreducibility of the whole to the parts and the reciprocity of this relation. The parts are divided into the autonomous and dependent, inner and outer ones. A text is regarded as a hologram where each part represents its functions within the whole. It is the textual frameworks that play the decisive role in textual integration together with reciprocal references of the distant parts and complementary relations. The paragon of framework is to be found in the cues of a role of a dramatic persona. It is due to distanced relations that the dimensionality of a text grows, it surpasses linear and planar limits, its depth and volume are revealed. Such means of frameworks as anaphora procure the textual division onto closed cycles.

The experience of “existence” with the cinematographic screen: the identification context

The article provides a deep analysis of a vast range of human experiences by means of highlighting the mechanisms of identification and the ways of their conceptualization. The present study grounds on the assumption that contemporary screen theories regard screen experience as a broad concept rather than a bunch of processes of visual consumption. Consequently, a creative product is viewed as a means for enriching human experience through the interaction of two types of embodiment and subjectivity: a human and a screen one. Such experience is construed via games with material features of the environment. A game creates space that encourages convergence with the object and accounts for the identification with the film as an event rather than identification with characters that are in the centre of the plot development. Drawing on contemporary touch aesthetics, the authors of the article reveal tactile features of screen experience proving that tactility deals not only with skin or screen but permeates through all the parts of viewer’s body as well as the film body.

The dialogue of cultures: theoretical and practical features of cultural production

In this article the cultural product is understood in two contexts. According to the first one it is perceived as a result of cultural production, which depends on the characteristics of cultural work and communication between the producer and the audience, ie the peculiarities of the consumption of cultural products. According to the second approach it is a tool for cultural dialogue and cultural diplomacy. Thus, the logic of presenting the theses is intended to analyze three main aspects: cultural work (its specific features, the level of understanding and perception), cultural consumption (dialogue of the artist with the audience, ethics of art production), features of the ecosystem of cultural production of Ukraine. The necessity to legitimize the cultural economics (an inherent component of cultural space) as a subject of research focuses on three main tasks: first, to create an appropriate ecosystem for cultural development (from training to clear financial terms, the status of cultural production in society and economy); secondly, to reproduce the laws of social relations in cultural production (from working conditions and the status of artists to dialogue with the audience or the consumption of cultural products) and thirdly, to implement the strategies for the development of culture and cultural industries. This justifies the relevance of the given topic for research, aimed to analyze the importance of the economic component of cultural production for the concept of cultural dialogue.

Sumy region wind music festivals from the standpoint of cultural and artistic traditions of the region

The article considers such kind of musical activity as festivals of wind music. As a result of research, the emergence and development of some orchestral festivals held in Sumy region at different levels of performance have been traced. Their role in aesthetic and patriotic education is determined, as well as the need for such measures to promote orchestral wind music, preservation and further development of orchestral traditions, which are important both in military rituals and in public life of the region. It has been found that nowadays wind music festivals are a major factor in the development of this genre of performance. Despite the rather wide coverage of the festivals, the events in the genre of orchestral wind music taking place at different levels of performance in Sumy region, did not receive due attention. Coverage of this issue is necessary for proper understanding and analysis of the state of performance on wind instruments in the region. The material of the article will be useful for scholars who study the festival movement and develop issues of history and development of wind music in our country.

The philosophy of silence in the context of a stage action

The article analyzes the nature of non-verbal human behavior. It reveals the non-verbal toolkit of the actor, its advantages over the verbal one and the main characteristics, i.e. organicity, staginess, informative richness and influence on the viewer. The antiscientific nature of the concept of verbal action and its destructive role in the organic process of the birth of a word are revealed. The study reveals the leading role of directing in the creation of the non-verbal text of the show. It determines the role of stage "silence" as the most informative and influential actor and director's tool for revealing the deep meanings of human characters, events and phenomena in the process of creating performances. The article emphasizes that it is the zones of silence, pauses, mise-en-scènes, the actor's psychophysical and director's staging constructions, and not literary texts, that broadcast the innermost meanings of spectacles, reveal the labyrinths of thoughts, intentions and feelings of the characters hidden behind dramatic texts, appealing to the imagination, fantasy and intuition of the viewer. The main types and varieties of stage pauses and zones of silence are summarized. The main provisions of the research are illustrated with non-verbal static and dynamic episodes from films and from works of theatrical art.

Organizational and economic processes of Ukrainian film production in the 1920’s

The article examines the formation of the material and technical base of Ukrainian film production based on the wide range of little-known publications in the Ukrainian and Russian periodicals of the 1922-1930s. The influence of the technical equipment of film factories on the quality indicator of film production in the 1920s is analyzed. The All-Ukrainian Photo and Film Administration did not receive the necessary state funding for the development of film production and had to independently seek the possibility of such funding. Initially, the main investments were directed to the development of the Odessa and partly Yalta film factories. In the second half of the 1920s, it was decided to build the largest cinema factory in the USSR in Kyiv, and therefore all funds were directed to this construction. However, after the transition to the production of sound films, the Kyiv Film Factory turned out to be completely unadapted to such processes. The article also discusses the negative consequences associated with the uneven distribution of funding for the development of three film factories.

Interaction of sound and image in modern audiovisual culture

The article analyzes the possible types of combination of sound track components with the visual track, namely diegetic and non-diegetic sound, actual, commentative sound, etc., reveals the main positions and opinions of foreign and Ukrainian authors studying the problem, types of sound in screen projects, and their significance and features in the context of audiovisual culture are indicated. Examples of creative application of audio track in modern Ukrainian and foreign audiovisual culture are considered. The following methods were used during the study: analysis was used for consideration of the components of the sound track and certain types of interaction of sound and image, comparative method was used to study different concepts of scientists to more fully present the issue, systematic approach was used to study a set of types of the combination of sound and image in audiovisual projects. The scientific novelty of the article is to highlight the current state of theoretical approaches to the interaction of sound and image in audiovisual culture. The results of the study are of practical importance to scholars studying film, audiovisual culture, as well as to sound engineers and other creative professionals working on screen projects, in order to be able to master possible techniques to combine sound with the visual component of the project.