bluuebunny/crossref_metadata_2025_split huggingface dataset:
Domestic Humanistic Tradition and Ukrainian Vocabulary as Primary Sources for Scientific Terminology in Professional Areas of Environment Creation
Authors: Tsarenko Serhii 
Published: December 2022

The purpose of the article is to find domestic lexical definitions of architecture, urbanism, and environmental design. The methodology of the research is an interdisciplinary synthesis of knowledge based on dialectics (H. Hegel) and the general theory of systems (L. von Bertalanffy). Scientific novelty. For the first time, the author has analysed the problem of the completeness of the domestic terminology on environment creation to express original meanings according to the Cyrillic humanistic tradition, and specialisations of activity. It has been proposed to introduce into scientific circulation a general definition of a group of professional artistic directions for creating an environment for human life as a hierarchical environmental image creation, the purpose of which is the integral beauty of spatial forms. Conclusions. The content of the borrowed terminology requires a more careful selection, as it is intended to enrich the vocabulary and clarify relevant industry concepts and professional specialisations, in particular, according to international qualification definitions. However, lexical borrowings do not have sufficient potential for worldview, mental-cognitive compliance with the national linguistic environment. In order to ensure national philosophical goal setting, in accordance with the national Slavic-Greek-Latin tradition of a complete and true Living Word, we need, along with borrowed names and terminology, to use primarily national, including Old Slavic, vocabulary in quality of the main methodological one. The domestic humanistic tradition, the peculiarities of word formation and the lexical fund of the Ukrainian literary language make it possible to return to wider use the national name of the content and purpose of an artistic composition (leepota) and to introduce into scientific circulation the natural definition of object-spatial arts, namely "environmental imagery" as well as «hierarchical environmental imagery».
Key words: architecture, harmony, design, Living Word, architectonics, architectonic urban development, composition, leepota, urban planning, creating the environment, terminology, philosophy of hierarchy of environment creation.
Icon Painting as Visual Component of Ritual Entertainment in the Context of Socio-Cultural Life of Kyivan Rus
Authors: Chumachenko Olena 
Published: December 2022

The purpose of the article is to consider icon painting as one of the elements of the visual component of ceremonial and ritual "entertainment" in the context of the socio-cultural life of Kyivan Rus.The methodology of the research consists in the application of the analytical method to study the theoretical material about the types of «entertainment», special attention is focused on the ceremonial-ritual type. The formalisation method is used to clarify the term «Entertainment» within the subject field of art history. The hermeneutic historical-cultural methodsenable the study of icon painting as a visual component of the «Entertainment» ceremonial-ritual phenomenon in the context of the socio-cultural life of Kyivan Rus. It is undeniable that the research also uses theoretical material regarding icon painting schools and traditions of icon painting during the times of Kyivan Rus.The scientific novelty of the work is that for the first time icon painting is considered as a visual component of "entertainment" ritual in the context of the socio-cultural life of Kyivan Rus.Conclusions. The hermeneutic method of interpretation of the «entertainment» concept nakes it possible not to narrow its meaning to the term entertainment, in the linguistic and art-historical aspect. Thus, this term is interpreted as a spectacle, and in relation to this interpretation, it has several types, the main of which are ceremonial-ritual, artistic, agonal, and fair. The article focuses on the ceremonial-ritual format of «entertainment» and its visual component during the socio-cultural life of Kyivan Rus. The ceremonial and ritual format of the spectacle is extremely important, combining elements of ceremony and ritual, and the religious aspect plays an important role in the socio-cultural life of each historical era. The interpretation of rite and ritual in the works of Arnold van Gennep, I. Fursin, N. Zakovych, V. Horovyi, and E. Durkheim is considered. It has been determined that it is the symbolic nature of the ceremonial-ritual format of the spectacle that distinguishes it from entertaining, artistic, agony, and farce formats. It is noted that the church rite, as one of the forms of spectacle, also has the right to exist, as an external manifestation of faith in God and the possibility of worshiping him. Thus, icons, which had their own sign and symbolic language, acted as one of the visual components of the ceremonial-ritual spectacle in Kyivan Rus, for example, a church rite. The traditions of the Kyiv icon-painting school of the times of Kyivan Rus, the peculiarities of style, and the main icons of that period are considered, which makes it possible to determine that icon-painting is one of the visual components of the "Entertainment" ritual in the socio-cultural life of Kyivan Rus.
Key words: еntertainment, church rite, Kyivan Rus, Kyiv icon painting school, rite, ritual.
Socio-Cultural Aspects of Representing M. P. Hlushchenko`s Cultural Heritage
Authors: Kapshukova Olena 
Published: December 2022

The purpose of the article is to reveal the regularities of socio-cultural and art history activity formation in the context of researches and representations of M. Hlushchenko`s tangible cultural heritage. The research methodology is based on cultural-historical, analytical, synthetic, and comparative methods to outline similarities and highlight differences in processes of socio-cultural activity related to M. Hlushchenko’s figure, artistic work, and personal archive. The scientific novelty. Based on the analysis, synthesis, and comparison of the main exhibitions, publishing projects, and journalistic activities dedicated to the 120th anniversary of Mykola Hlushchenko, the priority vectors of specialists’ activities in socio-cultural sphere have been identified. Dependency of socio-cultural activities in process of representing the M. Hlushchenko`s cultural heritage has been detected through the cultural-historical method in accordance with public needs. Conclusions. For 30 years since Ukraine regained its independence, the tradition of presenting socio-cultural projects for artist's anniversaries, probably borrowed from the Soviet times, has been established. In other words, the actualisation of M. Hlushchenko’s cultural heritage takes place cyclically, every five years. Today, the number of open, but still unexamined archival documents is growing every year, and mostly they are included in the scientific circulation without proper systematisation and processing. Traditionally, exhibition activity, namely the demonstration of some individual pieces of M. Hlushchenko's creative achievements, occurs at regional level. The main scientific investigations of M. Hlushchenko’s heritage has been carried out in related scientific fields, such as history, cultural studies, and archival work. Research activities are held by scientists insufficiently, accordingly, M. Hlushchenko’s cultural heritage still remains understudied, although it occupies an exceptional place in the history of Ukrainian art of the 20th century and deserves special attention and more detailed modern art research. Currently, we consider that the most significant contribution to research and representation of M. Hlushchenko’s cultural heritage in the field of socio-cultural projecting is publication of information with limited access, in particular archival documents and artistic works.
Key words: Mykola Hlushchenko, Nicolas Gloutchenko, socio-cultural projecting in art, tangible cultural heritage, creative heritage, artistic work, 20th Century Modern Ukrainian Art, Dnipropetrovsk Art Museum, Dnipro Art Museum.
Lesia Ukrainka's Works on the Domestic Ballet Scene
Authors: Perova Hanna , Khotsianovska Liudmyla 
Published: December 2022

The purpose of the article is to reproduce a complete panorama of Lesia Ukrainka's creations on the domestic ballet stage and to reveal the peculiarities of such ballets. The research methodology is based on the methods of generalization, comparison, and systematization, with the use of a chronological approach, which made it possible to reveal a panorama of ballet masters' appeals to Lesia Ukrainka's works in historical retrospect. Scientific novelty. For the first time, a complete panorama of Lesia Ukrainka's works, interpreted by means of choreographic art on the domestic ballet stage, has been reproduced, and the specifics of the interaction between such works and ballet have been revealed. Conclusions. Lesia Ukrainka's creativity was close to the nature of the ballet theater in its poetic and ephemeral image structure, philosophical generalizations. The success of ballet interpretations often depended on how closely the ballet master imitated the dramatic structure of the works, but did not resort to illustrating or directly translating literary language into choreographic vocabulary, how creatively he interpreted the poetics of the word in choreographic images. Among the works of Lesia Ukrainka, the drama extravaganza "Forest Song" by M. Skorulskyi, first staged by S. Serhieiev in 1946, became the most popular for ballet interpretations. Despite the number of ballet masters' appeals (N. Skorulska, Ye. Khasianova, M. Trehubov, A. Pantykin, V. Kovtun, V. Lytvynov etc.), consider V. Vronskyi 's production of 1958 to be the best interpretation due to its masterful approach to the ideological and philosophical content of Lesia Ukrainka's work, its compositional and architectural integrity, the symphonization of the choreography, and the psychological persuasiveness of the images. Less popular, but quite significant for the progress of the Ukrainian ballet theater, were the performances "Lights of the Night" by L. Dychko (1967) and "The Master of the Fireplace" by V. Hubarenko (1969) (the first – based on the poem of the same name and the second – based on the drama of the same name by Lesia Ukrainka; both first staged by A. Shekera).
Key words: Ukrainian ballet, Lesia Ukrainka and ballet, choreography, dance
Cyclic Forms in Anatolii Haidenko’s Creativity: Genre-Style Features
Authors: Yeriomenko Andrii 
Published: December 2022

The purpose of the article is to reveal the aesthetic, genre and style constants of Anatoly Haydenko's creative activity. The methodological basis is the basic principles of the theory of knowledge (objectivity, scientificity, historicism, integrity, interconnection and interdependence of phenomena and processes of reality); the main provisions of systemic, axiological, art history, competence, and cultural approaches as a methodological way of studying composer activity; conceptual provisions of the theory of professional compositional skill. The scientific novelty lies in the fact that, on the basis of the composer's personal statements, his aesthetic position regarding the purpose of art is highlighted; by analysing scale-compositional, technical-performance and genre-stylistic features, A. Haydenko’s narrative works are systematised. The intonation, textural, compositional, and dramaturgical features of the composer's music are revealed based on analytical observations of a number of opuses. The evolutionary trends and genre-intonation system in A. Haidenko’s accordion work are characterised. Conclusions. A. Haidenko's fairy tale concerts and sonatas demonstrate the composer's demonstrative interest in images of the distant past, the desire for a national certainty of sound, reliance on folklore sources, presented both in the form of quotations and intonation or harmonic elements assimilated in the author's text. Another trend in A. Haidenko's work was marked by the concerto for accordion with orchestra "Ecce homo!", which clearly shows the composer's desire to expand the figurative and stylistic horizons of music in the direction of the European coordinate system.
Key words: cyclical forms, genre-stylistic features, Ukrainian music, A. Haidenko’s creativity
"Madonna Ukraine" in Ivan Karabyts’s Pop Song: View through the Prism of National Collective Thinking
Authors: Kulyniak Mykhailo 
Published: December 2022

"Madonna Ukraine" in Ivan Karabyts’s Pop Song: View through the Prism of National Collective Thinking
The purpose of the work is to substantiate the characteristic features of the “Madonna Ukraine” image as a corresponding archetype symbol of national collective thinking in Ivan Karabyts’s pop and song works. The research methodology is based on the use of cultural and analytical methods, on the identification of mental foundations and the result of the embodiment of the “Madonna Ukraine” archetype in the artist’s pop song. The scientific novelty of the work lies in the creation of a specified view perspective on Ivan Karabyts’s pop art. Conclusions. The conducted research made it possible to draw the conclusion that Ivan Karabyts transforms deep-mental primitives on a generalised level in the creation of the Native Land archetype. The artist creates the essence of the archetype of Ukraine as Madonna, Mother Earth and Woman, through the prism of reflecting the Aura and Memory categories (M. Kopytsia), as well as, let us add, of Love, Beauty, and Inspiration. The patriotism feeling is manifested with special filial respect and the national collective thinking cornerstones reveals in this. The feedback of such an artistic message in contemporary art, in our opinion, is a question that determines the prospects for further research into this issue.
Key words: Ivan Karabyts’s pop song, “Madonna Ukraine”, collective thinking, archetype, Ukrainian music
Ukrainian Music in the 18th – 21st Centuries: A Retrospective Study
Authors: Hongwei Zhou 
Published: December 2022

The purpose of the article. The study seeks to characterise traditional Ukrainian music of the 18th-21st centuries influenced by Western European stylistic trends. To do this, the study analyses the similarities and differences in the historical development of music in Ukraine by looking into some historical events. The contextual relationships of Ukrainian music history with national traditions and global trends were established. The research methodology. The study relies on comparative and culturological analyses to compare the historical heritage of Ukrainian music art as a cultural process with Western European traditions and influences. The scientific novelty of the work lies in the expanding of the historical knowledge about Ukrainian music in the context of artistic styles. Conclusions. Culturological analysis revealed that Ukrainian Baroque was most vivid between the mid 17th and the mid 18th centuries. During this period, polyphonic pieces were written in the Baroque style not inferior to Western European church music in terms of artistic quality and national originality. Partes is a new Ukrainian style of church music born from the baroque tradition. Under the influence of Western Europe, the single-frequency partes singing or partsong transformed to become a spiritual concerto in the Classical period. The influence of European Romanticism had a weak effect on Ukrainian music. Its elements can be traced only in the works by Ukrainian composers of the second half of the 19th century, such as S. Hulak-Artemovskyi, M. Lysenko, V. Matiuk, S. Vorobkevych, and A. Vakhnianyn, to name a few. Later, the Ukrainian music culture was enriched by compositions from B. Liatoshynskyi, A. Kos-Anatolskyi, S. Liudkevych, and A. Shtoharenko. The avant-garde music of the 1960s (L. Hrabovskyi, V. Khodziatskyi, V. Sylvestrov, and V. Zahortsev) stands out with its innovation. At the beginning of the 20th century, national music culture entered into a dialogue with the modernist discourse, leading to the emergence of Ukrainian Modernism.
Key words: Ukrainian music tradition, Western European influences, Classicism, Romanticism, Avant-gardism.
Artistic Phenomenon of Igor Ivashchenko: New Comprehension Dimension
Authors: Shumilova Viktoriia 
Published: December 2022

The purpose of this article is to study artistry of Ihor Yefremovych Ivashchenko (1931–2014), the outstanding Ukrainian conductor and composer, related to his job in the State Dance Ensemble of the Ukrainian SSR. The research methodology includes historical, analytical, and biographical methods that provide an opportunity to find out the extent of the artist's creative personality. The scientific novelty includes the fact that, for the first time in the context of the art history discourse, little-known pages from the master's biography are made public in the publication, and his worldview intentions are established. For the first time, I. Ivashchenko’s artistic achievements are analysed and summarised in the scope of the activities of the State Dance Ensemble of the Ukrainian SSR (1955–1980). Conclusions. I. Ivashchenko's creativity was most vividly revealed in the area of dance music, where the composer managed to expand the stylistic palette, as well as to convey the original author's aesthetics to already well-known folk songs and instrumental works. Ihor Ivashchenko brought the activity of the small symphony orchestra of the Dance Ensemble of the Ukrainian SSR to artistic perfection and the supremacy of academicism. In the creative tandem of I. Ivashchenko and P. Virskyi, unparalleled examples of musical and choreographic performances built on the Ukrainian national and cultural soil were generated.
Key words: Ihor Ivashchenko, dance music, choreographic paintings, State Dance Ensemble of the Ukrainian SSR
Some Challenges of Partita No. 1 by J. S. Bach Interpretation in Piano, Harpsichord, Clavichord, Organ Performance
Authors: Yelysieieva Kateryna 
Published: December 2022

The purpose of the article is to consider the history of creation, existing editions and revisions, as well as performance on various keyboard instruments of Partita No. 1, B-dur, BWV 825, by J.S. Bach, as well as to identify and justify the discrepancies in performance interpretations. The research methodology. Universal (historical and analytical) methods and the following special research methods are taken as a basis. The system-ethnophonic method examines the interaction of the “instrument-performer-music” connection: the features of the instruments' constructions and their acoustic capabilities, the performing complex (playing technique, methods of working with the text, performing schools) and the music performance (the manner of performance). Cognitive and complex approbation methods are based on the fact that the author, as a practicing performer, directly tested the researched material, namely the nature of mastering playing techniques, ornamentation, within the framework of performing practice, conversations and master classes with the largest representatives of the performing tradition (M. Svyrydenko, O. Dmytrenko, B. Billeter, M. Kristeva, S. Levi) and traditions of musical instruments making (D. Titenko). The research material is the records of the most famous performers. Scientific novelty. For the first time, the problem of the possibility and artistic justification (authenticity) of performing a baroque piece of music on various keyboard instruments in today's conditions is highlighted. As an example, the piano Partita No. 1 by J. S. Bach is taken. Existing editions, revisions, musical performances on piano, harpsichord, clavichord, organ were analysed and compared. Conclusions. The following differences in perfomance interpretations were revealed: in the time of performance (which is related to the different duration of the sound on each instrument, although the individual artistic idea of the performer is also important); in the dynamic plan of building compositions: the terrace volume of the dynamics of the harpsichord and the organ opposes the gradual transition from the forte to the piano and vice versa (ascending-descending dynamics) of the piano and clavichord (which is also related to the peculiarities of the structure of the instruments and their dynamic capabilities). At the same time, we observe the unity in the different interpretations of the articulation, agogics and phrasing.
Key words: interpretation, Bach, partita, keyboard instruments, piano, harpsichord, clavichord, organ
Stage Speech Training in Producing English Plays in Ukraine
Authors: Hanna Hanna 
Published: December 2022

The purpose of the article. The article is devoted to the study of stage speech, in the professional field of acting that has to correspond to the innovative nature of science in the XXI century. The ways of creating new communicative means of applying stage speech trainings on the basis of Internet resources, audio and video materials, original scripts and their translations, namely Simon Stephens’s play after Mark Haddon’s novel The Curious Incident of the Dog in the Night-Time, are observed and analysed. The research methodology is based on the application of chronological method to research different stages of stage speech training, comparative method to conduct the comparative analysis, typological method to reveal the factors and determine the features of this process, as well as theoretical method to draw conclusions and develop further recommendations. Scientific novelty. The theoretical background and practical examining of the original theatrical literature is considered the main source of the latest information of a special nature. Conclusions. Problems of stage speech technique in modern acting in general, including Ukraine, need further consideration, understanding, and thorough research. The conditions for the functioning of language in the theatre are to be relevant to the requirements of stage practice that it is worth talking about a kind of separate stage style of speech. Actors use their voice to project external emotions, combining it with body movements to interpret the text and to present the story. Therefore, the voice cannot be seen as an isolated skill, but as a skill that requires coordination of the whole body. The Artistic director of the Lesya Ukrayinka theatre M. Reznikovych and K. Kashlikov, Director of the play, say that it is a great responsibility, and, most importantly, the opportunity to find the equivalent that could interest the Ukrainian audience. It seems that getting acquainted, as well as the use of exercises in the language of the original, can bring actors closer to understanding the author's idea, and the director to bring the atmosphere of the original and to adapt the original to the Ukrainian audience. The given examples of complexity of translation testify that actors are faced a multitasking work of reproduction of the idea on the scene. Each character represents the character in the stage language for more than two hours on a scene. Without stage speech training, this is almost impossible. Some of the best exercises for stage speech training were presented.
Key words: stage speech trainings, voice, body, breathing, diction, rhythm, youth vocabulary, translation, Ukrainian audience