bluuebunny/crossref_metadata_2025 huggingface dataset:
Following the Traditions of Old Masters in Ukrainian Realist Painting (on the Example of the Works of V. Kostyrko, E. Ravsky, O. Glazunov)
Authors: Bezuhla Ruslana
Published: April 2024

The purpose of the article is to identify the influence of imitation of the painting traditions of old masters on the work of representatives of contemporary Ukrainian realist art. The methodology of the study is based on the following philosophical and general scientific approaches, which made it possible to consider the phenomenon of imitation in contemporary Ukrainian art from different perspectives: the interdisciplinary approach ensured the use of the latest theoretical achievements of the social sciences and humanities in the analysis of the phenomenon of imitation; the phenomenological method was applied at the stage of revealing the essence and concretization of such a phenomenon as imitation, its transformations in the contemporary artistic space. The scientific novelty is due to the fact that the attention is focused on certain factors, including the imitation by contemporary Ukrainian artists of the painting traditions of old masters, which directly affects the formation of the art of modern Ukraine. Conclusions. It has been stated that the appeal to the artistic tradition of old masters is not a new approach in art, but Ukrainian art history lacks a sufficient number of fundamental scientific studies on the influence of the work of old masters on the formation of contemporary Ukrainian artists. It has been found that contemporary artists show interest in scrupulous detail, smooth style of painting, baroque complex angles, convey the psychology of images in the manner of Caravaggio and Rembrandt, actualizing classical traditions in contemporary painting. It is proved that pictorial illusion, artistic, compositional and coloristic searches, and even universal meanings in the works of old masters can serve as inspirations in the works of V. Kostyrko, E. Ravsky, O. Glazunov and other Ukrainian artists. It is emphasized that the issue of imitation of the painting traditions of old masters in Ukrainian realist painting requires additional research, but in our opinion, this is a promising topic for further research within the framework of art history and cultural studies.
Miniature Portrait as an Element of Cultural Heritage in Museum Collections
Authors: Karpov Viktor
Published: April 2024

The purpose of the article is to review portrait miniatures in museum collections as a refined art of the 16th – 19th centuries, which is closely related to the history of monarchs and aristocracy. It also reflects the aesthetic preferences of customers of portrait miniatures, artistic trends in the outlined period and scientific and technological possibilities of miniatures production. The research methodology consists in applying a number of approaches. The method of source analysis was used to analyze the literature on the topic of the article. An interdisciplinary analysis, in particular biographical and cultural research methods, came in handy when studying actual material. The historical approach and theoretical generalization made it possible to formulate conclusions and highlight the prospects for further development of the topic. The scientific novelty consists in the examination of portrait miniatures of museum collections as a component of cultural heritage and an important pictorial document of the cultural history of Europe in the 16th-19th centuries. Conclusions. As a separate form of art, portrait miniature in European countries, primarily in England, began to take shape in the 16th century, reaching its apogee in the 18th century. and, unable to withstand competition with photography, became part of the historical and cultural heritage. At the beginning of the 19th century, we observe the popularity of portrait miniatures in America, where this form of art has become quite a profitable business. The article focuses on the fact that initially portrait miniatures became parts of the collections of the customers themselves. Subsequent generations of collectors formed more extensive collections of works of art, among which portrait miniatures served as part of a large artistic complex. Such collections include the collection of Rosalind and Arthur Gilbert the Victoria and Albert Museum in London, the collection of portrait miniatures of the Vinnytsia Regional Art Museum. It is also important from the point of view of the connections between the cultural history of Ukraine and the European context.
Realism as a Tool for the Revival of Classical Traditions in the Painting Work of Olga Karpenko
Authors: Romanenkova Yuliia
Published: April 2024

The purpose of the work is to update the tools of realism as one of the main methods of preserving classical traditions in the art of painting by the representative of Kyiv artist Olga Karpenko. The methodology of the work is based on the use of a holistic method for a comprehensive analysis of the phenomenon of modern painting and the manner of O. Karpenko as its segment, a chronological method for the sequential consideration of the stages of the formation of the artist's personal creative style, a comparative method for comparing the characteristic features of the author's creative manner of different stages, an iconographic method for the analysis of individual works. The scientific novelty of the investigation is determined by the fact that in modern art literature there are currently few studies devoted to the realistic manner in the work of modern domestic artists, and in the context of the work of O. Karpenko, the question has not yet been asked in this way. The bibliography of the subject is very limited, so each new exploration is an important step in filling this lacuna. Conclusions. The creative work of the Kyiv artist Olga Karpenko is one of those cornerstones on which you can build a comprehensive idea of the trends in the development of modern national painting. It is multi-component, synthesises manifestations of stylistic features of various manners, directions, combines manifestations of various types of art, techniques. Among the main distinctive features of O. Karpenko's manner is that she belongs to those representatives of the younger generation who try to preserve the traditions of academic painting, which is facilitated by the appeal to a realistic manner. It is the analysis of the role of realism in the creative manner of the artist that is the main goal of this investigation, which is designed to actualise the problem of the role and place of realism as a way of seeing the world in the modern artistic space. At the same time, there is the problem of experimentation in creativity and the coexistence of a realistic manner with a tendency to experiment.
Classicism Style in Mural Painting of Kyiv-Pechersk Lavra Churches
Authors: Bardik Maryna
Published: April 2024

The purpose of the article is to study the features of the classicism style in mural paintings of the Kyiv-Pechersk Lavra churches. The research methodology based on the complex using of historical and cultural analysis, art study one, biographical method. The scientific novelty of the study. The implementation of the classicism style in the mural painting of the Kyiv-Pechersk Lavra is discovered. The archival descriptions of murals, photos, cartograms have been put into scientific circulation. On the basis of records, the stylistic signs of classicism in the mural paintings of the side-altar of the St. apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos have been researched. It has been revealed, thanks to which principles of the construction of composition and colour, as well as specific decorative elements classicist mural paintings have been created in the compartments of these churches. On the basis of stylistic analysis and analysis of archival documents, the working hypothesis for the improvement of the attribution of mural painting of the Church of Nativity of the Most Holy Theotokos has been proposed. Its connection with the painting baroque decoration of the Great Church (Dormition Cathedral) has been observed. Conclusions. The classicism style was represented in the mural painting of the Kyiv-Pechersk Lavra churches in the 19th century. The murals of the side-altar of the St. Apostle and evangelist John the Theologian of the Great Church and the interior of the Church of Nativity of the Most Holy Theotokos were created in the classicism style. The painting decorations of the side-altar and the church were formed on the general principles of classicist composition, such as strict symmetry, a calm and clear rhythm, an ordered structure, and emotional restraint. The artist painted a number of elements of the classicist architecture such as caissons, elements of the Corinthian order, rust, etc. He created the illusion of bas-reliefs and stucco moulding thanks to the use of the grisaille technique. He painted illusory gilt frames of various shapes that bordered the compositions, stylized monochrome ornaments. He chose blue (the symbolic colour of the Theotokos) and shades of gray as dominants for colour. The analysis of the artistic style and records made it possible to propose the working hypothesis regarding the authorship and time of creation the murals of the Church of Nativity of the Most Holy Theotokos. They were painted, as well as murals of the side-altar of the St. Apostle John the Theologian by Kornilii Voloshynov during 1837–1838. In the mural painting of the church, in the plots and locations of the compositions there were borrowings from the baroque decoration of the Church (Dormition Cathedral).
Technical Study of Miniature Painting by Rosalba Carriera (1673–1757)
Authors: Biskulova Svitlana
Published: April 2024

The purpose of the study is to establish the technique of creating four miniature portraits by Rosalba Carrera (1673–1757) from the collection of the Bohdan and Varvara Khanenko National Museum of Art (The Khanenko Museum) using optical and physicochemical methods and to introduce the results into scientific circulation. The methodology of the work is to use modern methods of analysing works of art in different spectral ranges, including microscopic, ultraviolet (UV) and infrared (IR) studies, X-ray fluorescence analysis (XRF) and Fourier transform infrared spectroscopy (ATR-FTIR). The scientific novelty is that for the first time a comprehensive study of miniature portraits of the famous Venetian artist Rosalba Carrera from the Khanenko Museum collection is presented, which establishes the technological features of creating miniatures on ivory and their design using various materials, the author's techniques of applying the image of portraits and the identification of pigments of the paint layer. Conclusions. As a result of the research, it was found that ivory was used as a basis for creating the miniatures. Infrared light studies have shown the absence of preliminary drawings, author's changes of composition and hidden signatures on the miniatures. The XRF method confirmed that copper substrates, gilded silver frames, and Venetian glass coverings were used in the design of the art objects. It has been established that the portraits were painted with watercolours using the author's spot method, and the pigments in the paint composition identified by ATR-FTIR correspond to the time of creation of the miniatures in the second quarter of the 18th century, which coincides with the museum attribution. The results obtained can be useful for art historians, restorers, and technology experts for the attribution/re-attribution of works of art of the 18th– 19th centuries.
Study of Portraits of Austro-Hungarian Monarchs (18th Century) from the Collection of Chernivtsi Art Museum
Authors: Mishchenko Iryna
Published: April 2024

The purpose of the article is to introduce into scientific circulation new information regarding the attribution of portraits of unknown persons from the collection of the Chernivtsi Art Museum and to examine the process of studying these works. The methodology of this study involves the use of various methods: historical, systematic, verification of the received data, artistic, and comparative analysis, among others. The application of these scientific methods allowed to comprehensively and objectively study and systematise the information available in various sources regarding the studied paintings and discover the names of the portrait subjects. The scientific novelty of the research results consists in the fact that for the first time the stylistic features of the works were analysed, the similarity of museum paintings with portraits made by other European artists of the 18th century was revealed; the faces of the rulers of the Austro-Hungarian Empire depicted by artists, the time of execution and the provenance of the portraits were determined. Conclusions. The study of pictorial portraits that entered the collection of the Chernivtsi Art Museum, such as "Portrait of a Woman" and "Portrait of a Man" by unknown authors, began with an analysis of stylistics, which made it possible to roughly establish the time of the creation of images as the second half of the 18th century, when in the fine arts of Europe the rococo style prevailed and in some places overlapped with older traditions of creating ceremonial portraits, which were characterised by emphasised restraint and some conventionality and flatness in the interpretation of form. Further restoration and research of the works, in particular the features of the costume, attributes and awards in the portrait of a young man, allowed to assume that the portrait depicts members of one of the royal families of Europe. Comparative analysis revealed that the paintings from the museum's collection are ceremonial portraits of Empress Maria Theresa of Austria-Hungary (1717–1780) and her son Emperor Joseph II (1741–1790). The found analogies with similar works of European masters also helped to establish that the works of the court artists of these monarchs, in particular, Joseph Hickel and Anton von Maron, as well as the works of other artists, served as models for the portraits from the museum in Chernivtsi. The study of the biographies of the portrait subjects and the time of execution of the works, which became samples, also confirmed the preliminary dating of the works ‒ 1770s.
Ukrainian Portrait Painting of the 18th–Early 19th Centuries in the Collection of the Dnipro Art Museum
Authors: Nesen Iryna
Published: April 2024

The purpose of the article is to analyse the collection of Cossack portrait painting of the 18th-early 19th centuries from the collection of the Dnipro Art Museum, with further classification of genre types and the role of specified works in the development of Ukrainian portraiture. The research methodology is based on a combination of general scientific and special methods of cognition. The leading tools of the research toolkit are analytical, historical-chronological, and systematic, which make it possible to thoroughly consider the material in art history and historical contexts, to obtain results for further searches in order to clarify attribution. The scientific novelty of the research lies in comprehensive study of artworks of particular collection of Cossack portraits of the 18th-early 19th centuries from Dnipro Art Museum collection, in which, next to famous historical figures (I. Samoylovych, I. Mazepa, I. Skoropadsky), we see little-known images (the scribe I. Nevinchany, the bishop Joseph). Their artistic and historical significance in the development of national portrait painting is determined. Conclusions. The eight portraits from Dnipro Art Museum collection considered in the article gave the author opportunity to research a number of portraits of Cossack figures of the 18th century, to trace important facts of creation of artworks group from first formation period of museum collection by efforts of Dmytro Yavornytskyi. The character analysis of the portraits proved the presence of main genre varieties in the collection – ktitori, epitaph, secular ceremonial and chamber types. Particularly important for research is the portrait of Hetman I. Mazepa, which shows an easel variation of the founder portrait. Most of the considered artworks represent the baroque in their stylistics, instead "Portrait of Pavlo Rudenko" by the brush of Volodymyr Borovikovskyi shows characteristics of a classical portrait. The artworks considered in the article specify the stylistics of national types.
Comprehending "Strict Style" in the Process of Forming Ukrainian Unofficial Art
Authors: Soliarska-Komarchuk Iryna
Published: April 2024

The purpose of the study is to reconsider the “strict style” beyond the narrative of the “Soviet art” and to identify those characteristics that allowed individual artists from Ukraine, Estonia, Latvia, and Armenia to return to the national artistic tradition and find their own creative language that did not coincide with the values of the totalitarian system. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (philosophy, history) to identify the innovative features of the “strict style” as the first important step for the emergence of the art of the “dissenters”. The comparative method is used to identify the differences in regional manifestations of the “strict style” based on the national artistic traditions of Ukraine, Estonia, Latvia, and Armenia. The systematic-analytical method is used to highlight the influence of the Khrushchev Thaw on the formation of new worldview values among the creative youth of the post-war period of the 1946s-1955s. The scientific novelty of the study is to identify the plot, plastic, and compositional characteristics of the “strict style” that became the reason for some national artists to search for national artistic traditions and interpret them using their own experience and artistic and figurative language. Conclusions. When comprehending the significance of the “strict style”, one should note its importance for the beginnings of the revival of Ukraine's artistic traditions, which soon led to the emergence of “unofficial” art. While its founders, Russian artists, sought to convey the feat of labour of the Soviet man, our individual artists were able to demonstrate the difficult fates and tragedies of their own people (I.-V. Zadorozhnyi), moreover, using the techniques and imagery of avant-garde artists in their artistic language. The national artistic experience of the 1920s and early 1930s prompted them to revive and rethink their own heritage. The subjects, techniques of transmission, and compositional features were similar among the representatives of the “strict style”, but the peculiar artistic thinking based on the worldview of their people made some national artists, as well as their colleagues from Estonia, Latvia, and Armenia, interpret the reality of their countrymen differently.
Integration of technology and fine arts: from computer to digital media
Authors: Popinova Oksana , Kriukova Ganna
Published: April 2024

The purpose of the article is to analyse the main stages and features of the integration of the latest technologies and fine arts. The research methodology involved the use of general scientific (analysis, synthesis, systematisation, among others) and special methods and approaches integrated from art history, history, information technology, media studies, and other sciences. Such interdisciplinarity allowed for a comprehensive exploration of the relationship between visual arts, technology, and digital media. The scientific novelty consists in an attempt to briefly present the main stages and features of the integration of the latest technologies and fine arts. Conclusions. Technological innovations have always helped artists realise various ideas, express themselves through new forms of art. This contributed to its further improvement, giving rise to the introduction of new technological tools in accordance with the requirements of the environment, which will continue to dynamically transform. Having gone through various stages, the integration of art with information technologies, especially visual ones, is currently reaching its culmination with digital mass media. Currently, digital technologies are so intensively and widely penetrating the fine arts that in the end they actually disappear, dissolve, and a diffuse technological-artistic environment is formed, mainly represented by media art. The latest technologies that not only change the ways of creating works of art, but also expand the boundaries of the idea of how they should look and spread, opening up new opportunities for artists in the implementation of artistic ideas, include: interactivity and immersion, artificial intelligence, digital media and software for drawing, 3D modelling and rendering, digital editing and correction processes, virtual and augmented reality, mobile apps for artists, and more.
NFT as a current component of modern cultural and art space
Authors: Ishchenko Kostiantyn
Published: April 2024

The purpose of the article is to analyse the main stages of formation and features of NFT with a projection on their use in the cultural and artistic environment. The research methodology is based on the use of a number of methods and approaches, which, taking into account the interdisciplinary nature of the problem, are integrated from art history, history, information technology. In addition, general scientific methods of analysis and synthesis, generalisation are applied. The scientific novelty consists in an attempt to substantiate the relevance of the use of NFT (non-fungible tokens) for the preservation of cultural values, the authorship of artistic works and creative industries. Conclusions. Technologies related to digitisation, virtual reality, artificial intelligence significantly affect changes in research and creative practices. The growing number of initiatives, services and applications arising at the intersection of the latest technologies and art motivates to study and discuss the creative potential of ICT in the context of culture and art. An important component of modern cultural, artistic, and economic processes is the implementation of NFT in the Metauniverse. NFTs (Non-Fungible Tokens), which are mostly encoded on the blockchain, are a distributed ledger technology related not only to cryptocurrencies, but also to the rapidly growing field of artistic entrepreneurship. The complex of blockchains and the decentralisation of their potential activates questions of strategy and the opportunities they open up for artists and creative industries. NFT is primarily an opportunity for everyone to become a participant and manager of a new cultural and artistic reality, which is characterised by global trends and local features of the production, development, popularisation, and circulation of cultural values. NFT-marketplaces play an important role in the circulation of digital cultural assets and are of particular importance for the formation and functioning of the cultural and artistic space, in particular, of Ukraine. This raises important issues of managing a technology that requires expertise in cryptography, coding, and the creation of legislation for its implementation.
Mykola Hlushchenko's paintings of 1940s–1970s from collection of Dnipro Art Museum: to the issue of periodisation and reattribution
Authors: Kapshukova Olena
Published: April 2024

The purpose of the article is implementation into scientific use the proposed time limits and names of creative path`s periods of artist Mykola Hlushchenko (1901–1977). Based on analysis of well-known facts of his life and creativity, studies of artist`s artistic heritage from 1940s–1970s artworks collection of Dnipro Art Museum. The research methodology is based on the methods of art-stylistic and comparative analysis of Mykola Hlushchenko's paintings, considered in art-historical and cultural-historical aspects. The scientific novelty of research consists in scientific 1940s–1970s creativity periods determination of M. Hlushchenko based on research of Dnipro Art Museum collection and additional attribution of individual painting artworks according to the proposed stages. Conclusions. Based on the analysis of Mykola Hlushchenko's paintings from Dnipro Art Museum collection and study in accounting fund documentation of the institution, considering biographical and autobiographical information, socio-political and historical-cultural context, we proposed a refined periodisation of the artist's work. Division of creative stages of M. Hlushchenko for more detailed periods will allow a more thorough and deeper analysis of the well-known today artist's creative heritage. Using the example of Dnipro Art Museum collection, we concluded that a certain number of works in the museum collections of Ukraine require additional attribution. In addition, the creative heritage of outstanding Ukrainian artist Mykola Hlushchenko remains insufficiently studied and requires comprehensive research.
Hip-hop: characteristics and influences on modern choreography
Authors: Pastukhov Oleksiy
Published: April 2024

The purpose of the article is to trace the main stages of the formation and features of hip-hop as a popular modern dance with emphasis on its role in modern choreography. The research methodology is based on a combination of a number of general scientific (analysis, synthesis, generalisation, among others) and special methods and approaches integrated from art history, history. The scientific novelty consists in drawing attention to the need to study such a type of modern dance as hip-hop. Conclusions. Hip-hop dance is part of the larger hip-hop culture and reflects the freedom to learn and express oneself through movement. This mixed street style of social dance combines acrobatic movements, gymnastics, and rhythm and includes other artistic manifestations (graffiti, rap, in particular). Unlike other types of dance, it does not have specific movements that need to be performed one after another, as well as complex choreography that needs to be memorised. One of its most striking features is improvisation, the main task of which is to respond to the rhythm of the music and allow it to capture the body. In general, hip-hop dance plays an essential role in the diversity and development of modern choreography, bringing its unique energy, style, self-expression, and socio-cultural depth. Elements of hip-hop that significantly influence modern choreography, enriching its content and context, include authenticity of urban culture, socio-cultural elements (street fashion, music, graffiti art), support of collective creativity, constant evolutionary dynamics. Hip-hop is constantly evolving, and its performers integrate new elements and styles, making it a diverse and dynamic form of choreography.
Ukrainian parallels to Jagiellonianism and Sarmatism in the history of Europe in the 18th-19th centuries
Authors: Hysa Oksana
Published: April 2024

The purpose of the work is to analyse Ukrainian parallels to Jagiellonianism and Sarmatism in the history of Europe in the 18th-19th centuries, particularly in the musical sphere. The research methodology involves a combination of historical-cultural, comparative, and empirical-analytical research methods to identify Jagiellonianism and Sarmatism in the artistic scope of Ukraine and Poland in the 19th and 20th centuries. The scientific novelty of the work lies in the fact that, for the first time in Polish and Ukrainian musicology, historical information on the Jagiellonian principle of religious-state regulation of the Slavic Commonwealth is summarised from the point of view of the Ukrainian positive in the rise of Ukrainian Orthodoxy and the supranational resonance of Petro Mohyla's reform. Conclusions. Jagiellonianism is the age of freedom of the Cossacks, who sanctified the Cossack age with high education and singing energy, which is the centre of high honour and pride of the Ukrainian nation, its thoughtfulness (in Old Ukrainian and Old Polish languages, duma means honour). For the Polish tradition, Jagiellonianism is the time when the capital was Krakow, and not Warsaw, which, due to its ethnic and cultural advantages, was and remains the custodian of the Old Catholic traditions, originating from the time of the undivided Christian Church and in the awareness of kinship with the East Slavic world. It was Jagiellonianism in Poland that contributed to the construction of the Zaporizhzhia Sich, which became an essential pillar of defence against the military expansion of the Crimean Khanate (since the 13th century) and Ottoman Turkey. Crimea is the last of the Greek colonies, the birthplace of Eastern Slavic Christianity, the place of activity of the "Orthodox brothers" expelled by the Anglo-Saxons from Catholicised Britain (XI century), transformed in the 13th-14th centuries. to the stronghold of Islam. Polish Sarmatism in the romantic era was influenced by the Cossacks, who en masse joined the chumaks who carried out commercial, military, and political operations, and, similar to the Polish-noble circles, considered offensive proposals to engage in agriculture, which did not correspond to the status of a foreman in the 17th century.
Mozart's Requiem and its performance by K. Pigrov
Authors: Shpak Halyna
Published: April 2024

The purpose of this study is to trace in K. Pigrov's performance interpretation of two pieces from W. Mozart's Requiem the signs of the performer’s worldview, which enriched the listening experience by correlating the Church-Orthodox worldview with the deistic-Catholic image of the world formed by the text of Mozart's immortal work. The methodological basis is the intonational approach of B. Asafiev’s school in Ukraine, comparative and hermeneutic prolongations of intonation in the works of D. Androsova, T. Verkina, O. Kozarenko, I. Kotliarevskyi, I. Liashenko, Liu Binjsan, O. Markova, O. Muravska, O. Sokolova, H. Shpak, among others, with the use of scientific research methods: art historical and analytical, descriptive-historical, cultural-regionalist, religious studies, and others. The scientific novelty lies in the fact that for the first time in Ukrainian musicology the analysis of the famous work of W. Mozart, using the example of No. 6 and 7 from Mozart’s Requiem, is carried out in view of the interpretation of these fragments by different performers, highlighting the sample of their performance by K. Pigrov, based on the foundations of the Odesa choral school as a church-Orthodox school by genesis, not alien to theatrical and secular sections of interpretation. In addition, for the first time, the specifics of the means by which the effect of Pigrov's interpretation is achieved by timbral-tempo and other sound indicators are highlighted. Conclusions. The multi-stage work of W. Mozart, and after his retirement those who deciphered and completed the text of Requiem, seems to have left an impression on the history of performance, including in the 20th and 21st centuries, which give very different versions of the sound, considering the church origin and at the same time the secularisation of the Latin Requiem In the performance under the baton of K. Pigrov, there was a version that allowed a somewhat "compressed" presentation of the whole for Nos. 6-7, where the images expressed in Nos. 1-7 (the formidable Power of God) and Nos. 8-12 (the height of God’s Mercy) were "collapsed". In the performance of the choir under the direction of K. Pigrov, the tempos are significantly slowed down (especially in No. 7), giving a visual fluidity to the changes in those musical Faces of God, relying on the tempo-articulation "displacement" of the themes and the amplification of sounds by low basses and "scaling" by slowing down the tempo at № 7. This is how an independent poem-type work was born from the named sections of W. Mozart's Requiem.
Development of executive skill guitar students in the processor education in Higher Educational Institutions
Authors: Tushchenko Mykhaylo
Published: April 2024

The purpose of the article is to understand the process and research of the main stages of the development of the performance skills of students-guitarists and highlight its significance in modern domestic performance as a qualitatively new step in the formation of the general aesthetic culture of a modern performer and the professionalisation of guitar art from the point of view of new technical and artistic possibilities of the instrument. The research methods are based on the systematisation and practical approbation of individual methodological issues, which are aimed at solving the main problems of the technical development of students during individual classes on the main instrument and group classes in the orchestra class at the Faculty of Arts; combining work on the artistic image and the technical component during execution. Scientific novelty. The article analyses the main trends in the performance culture of guitarists in solo and ensemble forms of performance. This work is a reflection of the results of my own experience in the process of forming and developing the performance technique of university students, as well as the general professional level of mastery of playing the six-string classical guitar in the conditions of the educational programme of Ukraine. Conclusions. The creativity of modern composers-guitarists is aimed at revealing all the performance possibilities of the instrument, combining the arsenal of performance techniques of playing the classical guitar with specific performance means. Therefore, during the training of modern professional performers on the classical guitar, special attention should be paid to mastering all the existing methods of playing, which are characteristic of the classical, jazz, flamenco, and rock schools.
Preservation vectors of traditional Chinese music
Authors: Dan Enyi
Published: April 2024

The purpose of the article is to highlight the issue and development of Chinese traditional music in the context of modern society. Our research methodology is to justify and analyse the possibilities of immersive approaches to this important musical heritage. The research methodology is based on a comprehensive analysis of modern trends in the development of Chinese traditional music. Cultural and musicological methods were used to study the influence of modern society on the preservation of traditional musical culture. The study considers three inversion approaches: creation of exhibition halls, formation of archives, and development of ecological exhibition spaces. We conduct a comparative analysis of the effectiveness of each approach and its use for the preservation and development of traditional music. Scientific novelty is the systematic contribution of inversion methods to the preservation and development of traditional music. The approach takes into account modern realities and these demands of society, contributing not only to the preservation, but also to the active development of Chinese traditional musical heritage. The conclusions emphasise the expediency and necessity of implementing such research approaches and indicate the prospects of using immersive approaches for the further preservation and development of Chinese traditional music in the modern era.
Theater art of the Western Muslim communities of the end of the XX – beginning of the XXI century
Authors: Fadhel Almuwail
Published: April 2024

The purpose of the article is to reveal the peculiarities of the theatrical art of Western Muslim communities of the late 20th and early 21st centuries. on the example of Great Britain. Research methodology. The method of analysis and synthesis, the method of typological analysis, the historical and cultural method, the method of art research and theoretical generalisation was applied, which contributed to clarifying the peculiarities of the traditions of Islamic theatre and its development at the modern stage in Western Muslim communities, identifying the peculiarities and characteristic features of the theatres of the Muslim community of Great Britain . Scientific novelty. Peculiarities of theatrical art of Western Muslim communities were studied using the example of Great Britain; on the basis of the analysis of the productions of the "Khayaal Theatre" theatrical campaign, the peculiarities of the understanding of the place, role, and potential of theatrical art by representatives of modern Muslim communities in Europe were considered; the activity of the theatre of the multi-national Islamic school with education in English "SOBIS" (Cardiff) was analysed in the context of preserving the traditions of the Islamic theatre. Conclusions. The rich culture and spiritual experience of the Islamic world, represented in the productions of Western Muslim communities, exerts a noticeable influence on modern European society. The study revealed that the development of theatrical art in Western Muslim communities in the late 20th and early 21st centuries testifies to the selective integration of the leading trends of European performing arts, the attraction to multiculturalism, provided that traditional cultural and religious Islamic values are preserved. The originality of the scenographic solution, which has a direct connection with Islamic history, its visual and architectural heritage, expresses the ideas and values of Muslims. The main Muslim theatre companies in the UK are Khayaal Theatre, Ulfa Arts, Arakan Creative, Muju and others. Interactive forms of theatre, in particular forum-theatre, can become a powerful way of interacting and informing about the issues of British Muslim identity. Characteristic features of the activities of the theatres of the Muslim community of Great Britain are: honouring and popularising the philosophical-aesthetic, literary and artistic Islamic traditions; development of a diverse repertoire in order to reach a wide audience; promotion of intercultural dialogue, interaction of traditional and modern, mutual understanding between Muslims and people of other faiths and traditions.
Theater of one actor: complementary tools and techiques of ideological and emotional of mono performances
Authors: Nechayenko Tetyana
Published: April 2024

The purpose of the work is to highlight and provide a theoretical justification of the means and techniques of ideological and emotional expressiveness in the stage formation of monologues of the theatre of one actor. The research methodology consists in the application of the comparative method for the holistic analysis of means and reception of ideological and emotional expressiveness in monologues, the determination of the dominant categories of stage action, the complementarity of verbal and physical action in the stage embodiment of these forms; the art method for understanding the artistic and creative activity of the theatre of one actor, its artistic significance, the realisation of original directorial and acting ideas, demand in modern theatre practices and understanding of the genre plan of actions, their characteristic features; a systematic method for analysing the algorithm of the performer's order of actions, the universal balance of the system of the creators' implementation of the discrete process of forming a one-man show with the help of the necessary skills and abilities to achieve a certain ideological and emotional solution; modelling method for researching means of ideological and emotional expressiveness, their complementarity in various ways of modelling stage orientation regarding the choice of means and techniques of artistic artistry of role-playing material; of the functional method for substantiating the characteristic means of creating a stage image of the protagonist of the role in various genres of monologues. The novelty of the study consists in a comprehensive approach to the analysis of the professional competences of a theatre artist of one actor, the degree of his qualifying artistic capabilities and means of ideological and emotional expressiveness in monologues, their complementarity in the stage formation of the action. Conclusions. Therefore, the performer of the theatre of one actor must possess universal artistry, the high technique of a professional as a master of plastic, verbal, multifaceted techniques of theatrical effectiveness, who is subject to all the techniques and means of stage expressiveness, manners, and motivations of figurative theatrical play, the complementarity of the proposed circumstances of the production, directorial decisions on the scale of the stage space and time, the atmosphere of the action for the ideologically integral formation of a stage high-art work. In general, a one-actor theatre artist should be a role model of a highly qualified play theatre professional.
Features of editing concepts in spherical audiovisual content
Authors: Stulii Alona
Published: April 2024

This article aims to define the main principles of editing concepts in the context of spherical audiovisual content (360 videos); identify the reasons for the formation of these principles; and analyse their impact on the viewer. Research methodology. To examine the topic, the author uses a case-study method, which relies on the studying, analysis, and generalisation of specific examples. The author also applies a comparative approach to compare editing techniques for the spherical and non-spherical audiovisual content. The scientific novelty lies in the editing of spherical video being considered as a separate, unique system with its own laws and rules that have formed as a result of the development of devices for the recording, processing, and playback of this video format, and most importantly – as a response to the growing audience demand for such spectacle. Conclusions. Spherical video is a new visual form that is dynamically evolving and transforming, thus, developing its own system of editing concepts. This system uses the same ideas and tools as classical cinematography but applies them differently because of the immersiveness of its environment. The viewer's freedom in interacting with content does not equate to the loss of control for the author over the work; instead, it transforms the tools with which the author operates to guide the audience through the narrative. As a result, this medium influences the cinematic language – the visual language of the 21st century, expanding its artistic boundaries. The author of this article believes that the features of editing concepts in spherical audiovisual content represent a promising topic for study and practical research.
Forms and methods of media promotion ballet theatre in PRC
Authors: Feng Baojiang
Published: April 2024

The purpose of the article is to investigate the forms and methods of media promotion of ballet theatre in the People's Republic of China. Research methodology. Several scientific research methods were used: exploratory and analytical – to collect information about methods and forms of media promotion and advertising of ballet theatres of the PRC; structural-typological – to systematise the obtained facts and outline the main directions of media promotion of Chinese ballet art, the inductive generalisation method – to write conclusions. The scientific novelty consists in defining and highlighting the priority areas of media promotion of the ballet theatre in the People's Republic of China. Conclusions. The Ballet Theatre of the People's Republic of China not only continues to impress with high artistic projects, but remains commercially successful. One of the promising directions for optimising the organisational and creative activities of the Chinese Ballet Theatre is to increase the media presence of ballet companies on various Chinese and foreign Internet platforms, television, radio, cinema, among others. Choreographic performances and shows are promoted through various forms of media, streaming broadcasts, online tours, online master classes; activity of ballet companies increases in social networks; television covers and organises dance festivals, competitions, shows, award ceremonies for artists with state and non-state awards; professional and amateur ballet schools actively use media advertising; the ballet theatre cooperates with the fashion industry; ballet is the subject of many feature films and documentaries; elements of ballet fall into the newest forms of media art. Thus, the ballet theatre in China effectively uses various methods and techniques of media promotion. Since the Chinese ballet theatre is on the rise, it is improving opportunities for further full disclosure of its creative and organisational potential. Therefore, forecasting further promising lines of development of the media promotion of the Chinese ballet theatre remains relevant. The search for non-standard solutions while simultaneously focusing on the development of the national ballet theatre according to high standards.
Subtext in the dialogue in climax of a film as a directorial method for avoiding melodramatic clichés
Authors: Khimich Andrii
Published: April 2024

The purpose of the article is to analyse the presentation of melodramatic clichés in the genre structures of melodrama; to compare the climactic scenes of melodramas and to highlight the problem of melodramatic character of the dialogue in the climax of the film; to prove that the subtext is one of the tools to reduce the pathetic nature of melodrama. The research methodology. The study of directors' methods of avoiding melodramatic clichés in the dialogue in the climax of the film required a comprehensive application of art historical and cultural scientific methods. The following methods were used in the course of the research: systematic-analytical method (for studying and analysing the genre structures of melodramas), comparative method (for comparing the climaxes of genre and art-house melodramatic climaxes), and classification method (for generalising and systematising the findings). The scientific novelty lies in the attempt to comprehend the climax scenes of genre and author's art-house melodramas for the presence of melodramatic clichés, to typify clichéd dialogues and directorial methods to avoid them. Conclusions. In this study, the culminating scenes of melodramas were analysed, and melodramatic cliches were identified. Upon comparing these scenes, it was found that dialogue is one of the factors contributing to the stereotypical melodrama. Films without such cliches were proposed for analysis. The films of Paul Thomas Anderson were used as an example to demonstrate the effectiveness of using dialogue with subtext, which is one of the tools to avoid excessive sentimentality in melodrama. It was concluded that the re-interpretation of other melodramatic cliches by directors is a promising direction for further research in the genre of melodrama.
Application of resource-intensive algorithms in programming courses for preschool children and primary school children
Authors: Kushnirenko A. G. , Mashchenko K. A. , Rayko I. G.
Published: April 2024

The article describes two techniques for systematically teaching the basics of programming to preschool children and primary school children, developed at the Scientific Research Institute for System Analysis of the Russian Academy of Sciences. The widespread use of these techniques requires the execution of resource-intensive algorithms, which a few years ago were only feasible for powerful servers, but today can be executed without delay on mass-produced economy-class tablets. Software support for these two techniques is implemented in the educational textless programming environment PiktoMir. The screen-free method of composing programs from material objects according to the rules of error-free two-dimensional syntax allows you to save children from screen work when composing programs and increase the number of programs children independently compose in each lesson. The use of augmented reality when executing a child's program for moving a robot across the playing field allows the child to free himself from screen work when assembling the gaming environment.