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The fashion is always limited in time and the new evolutionary round of the fashion industry (FI) development will not be an exception. The independence of FI is a result of changing opportunities and needs of a person as a consumer. The person­consumer is dependence on the gadget. Nowadays, it directly affects the new technologies of the suit and clothes creation. New requirements have influenced the rapid development, the growing value of the Internet, the e­commerce and the new technologies of the clothes creation. They are the 3D, 4D printing, nanotechnologies (NT), smart clothes: the wearable electronics and smart clothing for healthcare, biofabrication (BF), etc. The emergence of the new technologies in the environmentally friendly clothes creation permitted to process the waste and the salvage into new materials. It gave the chance to globally reconsider the relations with the environment and the consumption without killing animals. It was found out that the latest development reflected the epoch, the time and the human needs of the Third Millennium. This research introduced the new term — Independent New Fashion (INF), in order to highlight the independent historical moment of the new round of FI evolutionary development. The further research is crucial in this field. The subject of the paper is the creation, the presentation and the development of the independent fashion and the new clothes. The chronological framework of the paper ranges from 1996 till the present time.

The aim of this paper is to study the influence of the concept of descriptive music on the development of the genre of the piano miniature cycle of Ukrainian composers of the second half of the 20th century. Research methodology. The author suggests the methodological support of the characteristic features of a programmatic idea in the cycles of piano miniatures of Ukrainian composers of the second half of the 20th century drawing on a system approach and musicological analysis. Results. The paper considers the programmatic idea as a feature of the development of the genre of piano miniature cycle in the works of Ukrainian composers of the second half of the 20th century. The author studies the following genre subgroups of programmatic cycles: memorials, collections of diverse musical compositions, children’s music, and pieces of music written on the basis of sources of literature, the cycles inspired by the works of fine art, music opuses with historical and geographical names, “individual projects”. The paper demonstrates that for many composers a miniature is a kind of creative laboratory where they are gaining proficiency with various techniques of the performance. However, for most composers, the genre of programmatic cycles of piano miniatures becomes self-sufficient and able to reflect deep philosophical ideas or serves as a basis for reflection of their inner world. The practical significance involves the analysis of the programmatic idea as a feature of the development of the genre of the cycle of piano miniatures in the works of Ukrainian composers of the second half of the 20th century and the study of features of programmatic cycles of piano miniatures, that encourages the performers to master their skills as virtuoso pianists.

The relevance of the subject of this study is determined by the necessity of implementation of culturalization and digitalization into higher education in the field of culturology and arts as well as higher LIS education. Research methodology. The authors identify the focal areas of culturalization and digitalization of higher education in the field of culturology and arts as well as higher LIS education in Ukraine drawing on the cognitive possibilities of systemic, culturological and information approaches and problem analytical analysis with special reference to the Kharkiv State Academy of Culture (KhSAC). Results. The authors of this paper give an insight into culturalization and digitalization as the focal areas of improving the quality of higher education in the field of culturology and arts as well as higher LIS education. The study identifies the basic trends of using the processes of culturalization and digitalization in educational and research activities of KhSAC. The paper also deals with the role of culturological competences and network connections in developing the innovative educational and research environment of institutions of higher education which is favorable for generating, transmitting and using new knowledge. The paper analyzes the academic disciplines of culturological and information cycles for some fields of education and specialities implemented at KhSAC. Novelty. The study is an attempt to examine for the first time the culturalization and digitalization as the areas of priority for improving the quality of higher education in the field of culturology and arts as well as higher LIS education in Ukraine. The practical significance. The results of this study can be used by institutions of higher education in the field of culture and arts of Ukraine to create a harmonious culturological and information environment based on the principles of culturalization and digitalization.

The aim of this paper is to study the Roman Stoics’ ideas on the basic principles of the philosophy of human life in the context of their ethical paradigm. Research methodology. In this study the author uses such methodological approaches as historical, socio-cultural and system ones to analyze the Roman Stoics’ philosophical and ethical views, in particular, the views of Seneca, Marcus Aurelius and Epictetus. Using the methods of terminological and conceptual analysis within the scope of the system approach was of great importance, which made it possible to form a conceptual framework for studying the Stoics’ ethical paradigm. The author also uses the materials of literary and artistic works. Results. The Stoics’ philosophical teaching is multidimensional and polyphonic; it contains vital ideas that were communicated in a traditional way from one philosophical school to another. The Stoics’ ethics, as compared to physics and logic, proved to be the most popular in the history of spiritual culture. Philosophers believe that the ideal for the normal life of a person is to live in harmony with nature, because nature is eternal, stable and self-sufficient, despite all the changes that take place in it. The Stoics’ philosophy guides the people to achieve sustainability in their life’s trials, patience and endurance in extreme situations, courage in dealing with external and internal troubles and difficulties. The state of equanimity [calmness] is the ideal of life, it is concretized in such concepts as “apathy”, “autarky”, “ataraxia”, used by the Stoics in the development of the strategy of human life. Calmness and greatness of spirit are the basic human qualities that, according to Marcus Aurelius, must be inherent in the individual. Seneca’s and Marcus Aurelius’s ethical paradigm: “Be like a rock” is a metaphor used to characterize such human qualities as calmness, firm character, commitment to the principles in extreme life situations. In spite of adverse circumstances, a person, as a natural and social being endowed with reason, should not lose his common sense and dignity. Therefore, Seneca, as compared to the Ancient Greek Stoics, emphasizes the utmost importance of freedom in the attitude of man to the factors that influence the state of the human spirit. Epictetus and Marcus Aurelius consider that equanimity [calmness] as a form of sage positioning is relevant only in relation to external factors. Concerning internal (spiritual) factors (reason, soul and sense), actions and efforts are needed to improve them. Novelty. It is proved that the metaphor of the rock is the quintessence of the Roman Stoics’ ethical paradigm; the basic principles of their philosophy of life are coded in it. They are as follows: equanimity, spiritual calm, the balance of mind, courage and stamina, readiness for the unexpected and unpredictable situations, self-sufficiency and harmony. The practical significance. Information contained in this paper is of theoretical importance for further studies of the philosophy of Stoics, their ethical paradigm. It can be used in the practice of teaching philosophical disciplines, history of the world philosophical thought and while developing textbooks for students.

The aim of this paper is to clarify the current state of musicological research of academic vocal art in China. Research methodology. The author uses the logic and analytical method and system approaches to analyze current research on a wide range of issues regarding the specific nature of academic vocals in China. Results. The analysis of modern intelligence on its specific character and history enables to distinguish the following leading lines of research: 1. revealing the features of professional vocal academic education — the importance of national traditions, aesthetic ideas of prominent figures of Chinese culture, ideological components; focus on the spiritual development of the singer’s personality; systemic; the importance of influence of foreigners, in particular Russian, Soviet, performers and teachers; 2. understanding of performance issues related to the internationalization of vocal education, the specific features of the Chinese language, the distinction of intonation status in the musical thinking of East and West, the synthesis of academic and national singing, and the formation of Chinese folk-academic singing; 3. forecasting the ways of development of the bel canto national school and overcoming methodological and pedagogical and performing issues; 4. the coverage of a circle of performance receptions caused by the synthesis of folk and academic vocals; intensifying attention to the study of the peculiarities of the performance of prominent Chinese vocalists; 5. creating panoramas of outstanding Chinese bel canto figures. Novelty of this paper is to identify the leading vectors of musicological research specificity and ways of development of Chinese academic vocal art in the systematic unity of performing and pedagogical and methodological aspects. The practical significance is to complement and deepen the ideas on the features of Chinese vocal art, the ways of its development and interrelations with the world art in the context of modern culture.

The aim of this paper is to analyze the educational work of P. K. Saksahánskyi, a coryphée of Ukrainian stage, in Ukrainian dramatic art. Research methodology. The research basis is determined by the principles of the historical, problematic and chronological and art analysis of P. K. Saksahánskyi’s educational work. The study is based on the historical and genetical method (when studying P. K. Saksahánskyi’s artistic biography), the method of analytical and synthetic processing of sources (when studying specialized arts literature, critical articles and reviews of P. K. Saksahánskyi’s performances), comparative and historical method (when evaluating Ukrainian dramatic culture and its influence on P. K. Saksahánskyi’s creative work), problematic and analytical approach (to the analysis of P. K. Saksahánskyi’s creative contribution). Results. In his creative papers “To Stage Youth” and “To Stage Directors”, P. K. Saksahánskyi emphasized the belief that each artist is responsible for exactly what kind of feelings his or her performance triggers. Future directors have to realize they are the bearers of ideas that can easily infect population. Theatre must perform an educational function rather than an entertaining one only. In his opinion, the arousal of strong emotions and feelings is what may actually convey the intended thoughts and beliefs. He was one of the first ones in Ukrainian dramatic art to summarize the requirements to future actors and directors. In his papers, he not only presented particular pieces of advice regarding creation of stage characters and production of performances as a whole, but also pointed out the artist’s imperative responsibility for what happens onstage. His entire literary activity, theoretical research papers on acting and directing techniques represent a priceless heritage that enables new generations to study fundamentals of dramatic art more profoundly. Novelty. The main aspects of P. K. Saksahánskyi’s pedagogical and artistic research contribution have been specified. The basic principles for training of professional stage actors and directors have been outlined. The practical significance. Filling the gap in the artistic biography of Ukrainian outstanding actor, director, theatre manager and pedagogue P. K. Saksahánskyi makes it possible to enrich the vision of stage activity carried out by coryphées of Ukrainian theatre. Research findings may be used as the basis for further study of Ukrainian theatre’s establishment and for developing the series of lectures on History and Theory of Stage Craft and Stage Direction — for theatre theorists, actors and directors.

The aim of this paper is to develop and create an alternative method of student-actor’s work on their physical and emotional-mental composition. Research methodology includes both general scientific methods of research and specialized in the line of theatre and cultural approaches. Results. The peculiarity of new training is the system of constant search for the individual components of the actor’s own “I” on the development of imagination, energy, feelings and emotions. The basis of the training includes flora and fauna objects, which helps the actor to regulate the stress during the training and focus on the creative searching result. With the systematic implementation of the main stages of training in daily learning, new skills are formed, such as the release of clips, the formation of an organic manner of playing on stage, the absence of stamps, the flexibility of the emotional system and others. Each student can independently improve the training, which gives the opportunity to relieve stress and focus on the creative work. The elements of the training turn the lessons into a continuous process, maximizing concentration without undue stress. Continuous appeal to the work of the imagination helps to improve the work of the brain and physical well-being of students. Novelty of this paper is to change the emphasis in professional training in working with students. The formation of new stages before the transition to the study of realistic and psychological system helps in the training of the actor’s organic work on stage. The practical significance is in using new universal training elements of flora and fauna for educating the new generation of actors, who will be competitive in the contemporary art and media field.

The aim of this paper is to integrate the methods of estimating the physical parameters of physiological and social systems in the culture of health. Research methodology. The heuristic and hermeneutical methodology of physical epistemology of cognition is used based on the estimation of entropy changes of physiological systems and social institutions. Results. The author determines the importance of the act of introducing the physical abstraction “Free energy” from biology into the semantic thesaurus of the individual and social health culture, the purpose of which is to control the processes of production and distribution of free energy. It has been proved that this is a decisive factor in the stability and evolution of physiological and social systems. The critical necessity of supplementing the philosophy of wealth accumulation in classical liberalism is emphasized by the anthroposophy of spiritual and cognitive use, the redistribution of free energy of society in the values of health culture. Novelty. The paper is the first attempt for describing the phenomenon of the division of two thermodynamic groups of functional systems of an organism and social structures. The practical significance. Materials and results can be used in developing the lectures on valeology, individual and social health culture. Conclusions. It is revealed that the main ethical goal of socially responsible activities of the person and society of the 21st century is the individual and social culture of health. It is stated that the most important factor is the culture of health, which confirms the ability of the individual and the society to produce the rational use of free energy of the individual in the value orientations of valeology. The method of estimation of physical parameters of physiological and social systems in the culture of health is included.

The aim of this article is the implementation of historiographical analysis of the composer’s oeuvre of the famous Ukrainian composer Volodymyr Runchak. The tasks are to identify the areas and aspects of musicological research, the music composer, as well as a statement of their basic ideas. The ultimate goal of the analysis is the identification of the unexplored and untouched aspects and genre of the areas of the author’s oeuvre. The research methodology of the work is centered on the principles of historicism, source studies, and documentary, which provides an analysis of the research of the composer’s oeuvre in connection with cultural, historical and artistic phenomena and in their interaction. In addition, the methods of retrospective, structural and system analysis, the interpretation of musicological considerations, isolation and generalization are involved. The results obtained in the course of achieving the goals in this paper concentrate on the analytical interpretations of the major musicological publications on the music of V. Runchak and demonstrate the range of issues already involved in the scientific development. The oeuvre of the famous Ukrainian composer, conductor, public activist, and the passionate propagandist of modern music of Volodymyr Runchak is in the area of special attention of music critics and musicologists. After all, his oeuvre represents the advanced position of the Ukrainian contemporary art music. A confirmation of this thought is the widespread recognition of the creative works of the artist both in Ukraine and in many countries of the world; the system of the performance of his works at the most famous festivals of contemporary music and conducting the author’s concerts at the prestigious concert halls in many countries is performed by the most famous musicians and bands. Novelty lies in the implementation of historiographical analysis of the composer’s oeuvre of the famous Ukrainian composer Volodymyr Runchak, identifying the areas and aspects of existing musicological studies of the composer’s oeuvre and highlighting the unexplored areas of the author’s oeuvre, that are seen promising for further scientific practices. The practical significance of the historiographical analysis conducted in this paper lies in the possibility of using it for future studies of V. Runchak’s oeuvre, a systematization of scientific information in the field of art regarding the research on the oeuvre by contemporary Ukrainian composers. Conclusions. The author has carried out a historiographical analysis of Vladimir Runchak’s oeuvre. The most developed aspects of the composer’s oeuvre are genre, form-building and styles, as well as the introduction of the latest compositional technologies, techniques and means, an implementation of specific performing techniques in the artistic context of works, general issues of ideological, creative and philosophical and aesthetic directions. The most researched field of the composer’s oeuvre is an array of bayan works. The lively interest of researchers is also observed in the chamber and instrumental genre, in particular in the works of small ensemble forms and compositions for saxophone. In the area of the performed musicological research of V. Runchak’s oeuvre there are also some choral works. At the same time, they remain an unexplored field in terms of musicological analysis of the composition of the symphonic genre, a large number of chamber-instrumental works, individual choral and almost all chamber-vocal opuses of the author.

The aim of this paper is to highlight the creative way of life of M. G. Stetsiun in the context of the academic folk instrumental art of Ukraine. Research methodology. The study investigates this issue by examining the creative path of the outstanding composer, Honored Artist of Ukraine Mykola Stetsiun. This theme is quite relevant in the contemporary music space. The purpose of the article is to study the composer’s creative work of M. Stetsun in the context of the academic folk instrumental art of Ukraine. Results. The results of the study include the novelty of previously unexplored issues of creativity and creative personality of the composer. The issues, which bear the biographical information of the composer from his childhood and to the present, are outlined. Historical facts from the biography of the composer are illustrated. The article describes the first steps of the beginning composer, his first works and where and how they were written. In detail, all periods of the creative biography, the period of childhood in Bakhmut (Artemivsk), education at the Artemivsk State Music College, the period of military service, education at the Kharkiv National Ivan Kotlyarevsky University of Arts, the periods of work at the Slavic Pedagogical Institute and the Kharkiv Cultural Education College, the periods of work at Kharkiv National Ivan Kotlyarevsky University of Arts and as the head of the Kharkiv Regional Philharmonic. The author analyzes the genres in which the composer writes, and the role of song creativity is defined. The role of wife and daughter is highlighted as the brightest performers of his songs. Every step of M. Stetsiun is analyzed on the way toward an artistic personality becoming as an outstanding composer. Novelty of this paper consists in the generalization of creative path of an outstanding composer M. Stetsiun in the context of academic folk instrumental art of Ukraine. The practical significance consists in providing the important facts about composer’s way of life, people who support him, his creativity and importance in the folk instrumental art of Ukraine.

The aim of the article is to analyze the use features of the female images in the creative work of stained-glass artwork, panels and lithography in the Modern Age. Research methodology is based on the use of cultural, structural, comparative, and analytical methods in the study of female images. Results. The paper studies the technologies of decorative and applied art, using features of the female images in stained-glass artwork, panels and lithography of Art Nouveau. The author analyzes the concept of “stained-glass artwork”, “panel”, “lithography” in decorative and applied art and considers the history of their introduction in the study. The main tendencies and patterns of representation of female images in these types of art are revealed in the paper. Novelty consists in the implementation of the complex analysis of the features of the female images in decorative and applied art in the Modern Age (in stained-glass artwork, panels and lithography). The practical significance. The material in this article can contribute to the new issues into the history of culture and art. The results of the study can be used in teaching such courses as “History of Modern Culture”, “Decorative and Applied Art”, “Modern Art”, and in the development of training aids on the history and theory of culture, and in training the specialists in history of arts as the practical material.

The aim of this paper is to define the methodological approaches to the formation of actor’s ability to improvise based on J. Moreno’s theatre theory. Research methodology is based on the principles of objectivity, historicism, multifactority, systemacity, complexity, development and pluralism. The methods of scientific knowledge are used: problem and chronological, specific historical, statistical, descriptive, logical and analytical. Results. It is proved that the improvisational style of performance, as a model of co-creation, which enhances the existing “here and now” dynamics, recognizes the hidden creative potential in each individual, contributes to the organic interaction of stage partners and returns the ancient instruments of the theatre. Improvisation, as the dominant category of J. Moreno’s theatre background, calling for structural flexibility in order to enhance the inclusiveness and openness of unhindered theatre discourse, promotes the transgression of acting skills. Novelty. A study of stage improvisation was carried out and the multifunctionality of its nature was revealed; the concept of “improvisation” was clarified and supplemented. The author reveals its specific role and place in the performing arts and studies the nature of improvisational creativity of the actor. The paper determines the place and functions of improvisation in the creative process of acting reincarnation; psychological characteristics of acting improvisation are considered, including multi-level consciousness in the process of performance, improvisational thinking and self-perception in the image. The practical significance. The research may be used in developing lectures by specialists in directing and acting studies.

The aim of this paper is to show the Old-Iranian genesis of the term “duma” used to refer to the genre of Ukrainian folk epic. Research methodology. The research methodology applies historical and logical and comparative methods used for studying the interpretation the Ukrainian term “duma”, related to Old-Iranian and Old-Slavic worlds and used to define the genre of national epic tradition. Results. In the scientific literature, the “duma” epic is regarded as a late-stage phenomenon, without exploring its historical links to earlier autochthonous epic traditions that prevailed in the territory of Ancient Ukraine, particularly ancient Iran. The Ukrainian ethnomusicologists (S. Grytsa) argue for its artificial formation, introduced in the literary sources of the Romantic era. The article attempts to refute this common sense. It is hypothesized that the word duma, first mentioned in the written sources of Kyivan Rus, has ancient Iranian genesis. The ancient Iranian component has been studied sufficiently in the material and spiritual culture of Ukraine, but the results of this study rarely fall within the attention of musicologists and ethnomusicologists. In the culture of Ukrainians, iranisms have been preserved since the Scythian-Sarmatian until Kozachchyna era, a period of the duma genre flourishing. Since ancient times, the word duma functioned in ancient Iranian languages, including Tajik. It correlated with the dumb-, duma-root, which meant “a tail” (L.Gertsenberg), and preserved in the name of the folk epic instrument “dombra”, “dumbbrak” (literally — a tail/lamb fat-tail, by I. Vyzgo-Ivanova). The form of ancient instruments was determined by their ideological content. The sacred meaning of Aries (lamb) and individual parts of its body correlated with the idea of Farn (good, power, strength) as a symbol of royal power in ancient Iranians, including the Scythians, and was embodied in the form of a musical instrument. The Iranian-speaking Afghans still name the folk singers as dumas, and the Turkic-speaking Kazakhs, whose ancestors were Iranian-speaking Scythian-Saka tribes, until recently, used the similar word duany to name the divine seers, performers of epic cycles. The semantics of these words indicates that these were used in ancient Iranian vocabulary to refer to both carriers of epic traditions (duma) and their epic instruments (dumbra, domra) and repertoire. It testifies to the fact that the early Slavic tribes in the territory of Ancient Ukraine borrowed the word duma during the period of direct contacts and assimilation processes with the Iranian-speaking world, beginning with the Scythian-Sarmatian-Alan era. F. Kolessa, and subsequently S. Grytsa pointed out the connection of duma musical stylistics and music of the East, explaining “chromaticism” in thoughts by oriental influences. Based on archaeological, historical and contemporary ethnomusicological studies, it can be argued that the so-called East was located within the modern Ukrainian territory. Those cultural elements, which individual ethnomusicologists interpret in the context of “Eastern” influences, prevailed in ancient Ukrainian lands for centuries, and are still rooted in the culture of the Ukrainians. Novelty. The paper refutes the well established in the scientific literature notion of late origin of the word and term duma as the genre name of the Ukrainian epic tradition. Its ancient Iranian genesis, the connection of duma genre with the Ossetian Kadagi has been proved. The practical significance. The material in this article can be used in academic programs of university courses for cultural studies, art studies, instrumental studies and the study of the history of the Ukrainian epic tradition. A linguistic analysis of the term and genre duma makes it possible to conduct broader comparative studies on term functioning during the era of the Eurasian people, who have had long-lasting close contacts with the Scythian-Sarmato-Alan world in the past.

The aim of this paper is to describe the specific features of the creative process, its organization, musical notation techniques; the definition of the role of talent and professionalism in the composer’s work; the definition of the essence of the notion of composer thinking and substantiation of the factors of its formation. Creative thinking is the highest form and stage in the development of human thinking. Composer thinking characterizes the creative process of a musician, reflects the foundations of a creative person. Consequently, the study of issues related to creativity, the process of composing is both relevant and well-timed, since the field of research is constantly enriched by the works of psychologists and art historians who offer a deep insight into understanding of the mystery of musical thinking. Research methodology is determined by the works of the psychological area, where attention is paid to the issues of thinking, musical thinking, and works of musicology, which deal with the issues of music and creative process and composer thinking. Results. The creative process, the creation of music is a mysterious phenomenon; therefore, there is a desire to approach a number of important issues that concern many musicians and researchers. The result of the creative process is a musical composition, which must have certain qualities that distinguish it from improvisation. The most prominent impulses of the creative process include idea, emotions, image, events, phenomena, and musical intonations. The basis of the creative act is the gradual and long-term accumulation of knowledge, skills gained from the professional experience. The revealed mental operations are similar to the creativity in various fields of endeavor. The creative process is impossible without an active imagination, which enables to predict the process and the result of creativity. The creative process of a musician, the originality of the musical notation type underlies the principles of composer thinking. Novelty consists in a systematic coverage of the issues of the creative process in connection with the category of composer thinking considered in relation to the general foundations of musical thinking. The practical significance. The main results of this study can be used in the papers that address the problems of creativity, creative thinking and in the work of teachers of musical psychology and composition.

Relevance of the research. The music art of Zaporizhzhia region of the period is an interesting, diversified and complex phenomenon of the contemporary Ukrainian culture with its regional specific character. Despite the significant increase in the research interest in music regionalism of Ukrainian musicology the study of music art in Zaporizhzhia region has many unexplored issues. The aim of the studyis to represent the main performance ensembles of the Zaporizhzhia Regional Philharmonic Society, which have been functioning in this institution for many years. The paper intends to describe the genesis and development of the Zaporizhzhia Regional Philharmonic Society as a regional art centre, to display the formation process of the main performance ensembles of the Philharmonic Society and to demonstrate their significance in the light of the professional academic music development in Zaporizhzhia and Ukraine. Research methodology. The author applies the principles of historicism, source studies, and archival documentary to study the music culture in connection with historical, socio-political and cultural phenomena in their cause-effect interaction. In addition, the methods of retrospect, structural and system analysis, interpretation of factual material, and generalization are involved. Results. The author defines the mainstreams and achievements of the performance ensembles of the Zaporizhzhia Philharmonic Society in the development of professional music art of the region. The study demonstrates that professional academic music art in Zaporizhzhia has been formed at the turn of the 1930s-40s with the opening of a regional Philharmonic Society in the city. As the main centre of academic music art in the region, the Zaporizhzhia Philharmonic Society organized a number of large performance ensembles in its structure representing the main genres of professional music activities, in particular: vocal and choral, orchestra and symphonic, folk ensembles, variety and jazz and others. The author concludes thatthe musicians of the Zaporizhzhia Philharmonic Society have achieved significant results and wide audience recognition. This is confirmed by the number of concerts, foreign tours and performances at the well-known festivals; close collaboration with many world leading musicians; the recognition of the musicians of the Philharmonic Society by the national and international music critics and the press. Novelty.The paper presents an attempt to systematize factual material in the making of the Zaporizhzhia Regional Philharmonic Society as an important art centre of the south of Ukraine. The practical significance. The material of the article can be used for teaching the courses “Music Local History”, “History of National Performing Arts”, etc., as well as for further studying of music regionalism, in particular, the music art of the Zaporizhzhia region.

The aim of this paper is to study the influence of musical thinking on piano performance. Research methodology. The author suggests the methodological substantiation of the problems of musical thinking as the basis of piano performance drawing on a comprehensive approach to the phenomena of culture. The processes and trends of the influence of musical thinking on the performing culture as an objective regularity and continuity of the spiritual tradition are studied. In this study the author uses historical-cultural, system-functional, psychological-pedagogical and art methods of analysis. Results. The paper examines the processes and trends of the influence of musical thinking on the performance process caused by improvement of the creative concept of the performer. Knowledge about the culture of the historical period, the composer and his work, the author’s concept of the composition play a key role. The paper demonstrates that the main problem of the performance process consists in the fact that the performer should join together the work written by the composer and the audience for which it will be performed. The performer also should overcome the objectivity of the author’s intention and the subjective interpreting the original work. The author of this study identifies the idea of musical thinking as the basis of the piano performing art that is confirmed by the basic pedagogical principles of the famous piano teachers of Ukraine of the 20th century. Novelty. An attempt is made at identifying musical thinking as the basis of the piano performing art. The practical significance of this study consists in the development of active musical thinking, which is of great importance in implementing the performer’s creative ideas both in the process of arrangement and stage interpretation of a musical composition. It contributes to developing original sound images and identifying the artistic content of the work, as well as emerging distinctive individual performance styles.

The aim of the study is to reveal the content of the components of choral writing. To achieve the aim, the following tasks were set: to substantiate the functional interaction of components of choral writing; to find out how these components “work” among themselves in a choral work. Research methodology. Research papers on the analysis of word-Logos, genre principles, dramaturgy, performing poetics, and choral style of thinking were used. The quotes which had been used by researchers in these papers became a basis for the preparation work of this article. Results. The article deals with the study of choral writing components, which are considered as interconnections of musical work levels from the perspective of choral writing. The content of this fundamental category is conditioned functionally at the following levels: word-logos, verbal factor (canonical series); relevant genre-communicative principles of functioning and their individual structure of the work; The drama of the choral work depends on the choral style of thinking as a world-view system of the composer; composition as an integral structure of the sign system; performing poetics (performing composition, timbre, articulation, tempo, dynamics) on the basis of choral sound; the choral style of the composer thinking is manifested through the mechanisms of choral writing (the way of objectifying philosophical guides in the choral work). Novelty. The components of the choral writing are considered for the first time as an interconnection system of the choral work levels (in the chain way of musical creation). The practical significance. The material of the article can be used by lecturers as optional materials for the major training courses and will help the students of higher education institutions in studying at the choral conducting class, practicing with a choir and choral compositions analysis.

Current studies pay particular attention to the cultural vagueness of national art. In the context of globalization and intercultural integration, it is traditional art that should become the foundation for the development of national identity. Observations on the indistinctness of traditions and style features of folk dances are also relevant for the contemporary dance art of Slobozhanshchyna. The study of dance canon enables you to «read» folk dance and describe its symbolic system in the performing arts, preserving regional features and promoting the elevation of regional identification. The aim of the paper is to analyze of the specific features of the formation of dance canon of folk dances of Slobozhanshchyna and their conceptualization. Research methodology is based on the use of general scientific methods: analysis and generalization of the scientific and theoretical bases of research, comparative and historical methods. Results. Dance codes in Slobozhanshchyna differed in its various parts and were based on the characteristic features of folk dances that were distributed in different parts of the region. The folk dance with towels highlighted the influence of Ukrainian culture. The triangle, formed from a towel, completely reproduced the image of a towel placed in the house above the icons. This position was a symbol of man as a source of communication, reflecting the essence of interethnic communication within Slobozhanshchyna. Among the most common features of dance drawings, characteristic of folk dances, are the tendencies in changing the direction of movement during the performance of dance in a circle. It was typical to use two parallel lines in the spatial composition of the dance. The use of such a composite element was based on the tradition of performing the song that is sung “on two choirs”, which was distributed throughout Slobozhanshchyna. Novelty. The position and role of the dance canon of folk dances of Slobozhanshchyna are identified. The basis of the dance canon is formed by the foundations of the compositional construction, the specific character of the performance of the basic dance movements and the ways of the embodiment of non-mainstream music. The specific features of the canon of folk dance of Slobozhanshchyna include the preservation of a closed composite construction; closed triangular dance patterns, the use of «gates» and «bridges», and a change in the direction of movement; the appearance of accents in the performance of typical movements of Ukrainian folk dance; sharp torso bends to the side or forward. The practical significance. The paper may be of a particular interest to the specialists in folk choreography.

The aim of this paper is to study Marcus Aurelius’s considerations concerning man’s attitude to the fact of the transience of existence and realization of his or her life intentions and aspirations in the context of Stoics’ ethical paradigm. Research methodology. The author uses historical, socio-cultural and system approaches to analyze the philosophical and ethical views of Marcus Aurelius, who is considered to be one of the famous representatives of Roman Stoicism. Analytical, comparative and terminological methods of cognition are also used in this study. Results. Marcus Aurelius’s reflections on the world, nature, man and his spirit contain the issues of concern that have thousands of years of philosophical discourse. Special attention is paid to the conjunction of dynamic nature and stability of existence. Central to the composition of Marcus Aurelius’s philosophy is the metaphor of existence as a river, a flux of forces of nature, namely water, fire and air. Marcus Aurelius, as other Stoics, was highly influenced by the Pre-Socratic philosopher Heraclitus, who believed that the only thing permanent was change. Drawing on Heraclitus’ legendary aphorism ‘you cannot step into the same river twice,’ Marcus considers that since man cannot change the natural state of things, he must obey the existing order, put up with wisdom of nature, taking it for the gift of life, though it is not eternal. But the reconciliation of man with the laws of nature must not be an emotionally-spontaneous act based on fear and horror, but rather a clear awareness that there is a natural need. If a person is aware of this need, he or she acquires the status of a free being and is able to reasonably control his or her abilities, to make a certain choice in the course of life situations. The reason, according to Marcus Aurelius, is the rescuer from the uncertainty in understanding of man’s place in nature, in search of the meaning of life, in overcoming despair, fear and powerlessness against inevitable events, in particular, before the future of his own death and the death of those around him. In the context of the variability of existence, transience of time one should live life to the full, realize one’s intentions and aspirations without violating ethical norms. In dealing with issues beyond the control of human will, man should rely upon the will of the higher forces. Novelty. It is proved that Marcus Aurelius reasonably and convincingly substantiates the idea that overcoming the fear of the perception of the facts of constant variability of existence is possible only through the logic of the dialectical reason. The practical significance. Information contained in this paper is of theoretical importance for further studies of the philosophy of Stoics, their ethical paradigm. It can be used in the practice of teaching philosophical disciplines, history of the world philosophical thought and while developing textbooks for students.

The aim of this paper is to analyze various publications concerning the issues of Ukrainization in the sphere of culture during the Ukrainian revolution of 1917–1921. At the same time special attention is paid to information dealing with relations between the different groups of the intelligentsia and the Soviet authorities which had gained the dominant position and finally occupied Ukraine by that time and imposed their ideology on the researchers. The archives stored predominantly their own ideologeme of the material concerning Ukrainization and the interrelations of the various groups of the old intelligentsia and the Bolshevik regime. The research methodology of this study is based on culturological principles and methods. Particular attention is paid to comparative principles and methods which make it possible to analyze in detail the main works concerning Ukrainization and the interrelations of the old intelligentsia and various authorities, mainly the Soviet authorities, during the Ukrainian revolution of 1917–1921. Results. The author of this study analyzes in detail the most important publications available currently regarding the issues of Ukrainization and diversification of the views of the various groups of the old intelligentsia in relation to different authorities, mainly the Soviet government, during the Ukrainian revolution of 1917–1921. Special attention is paid to the analysis of information concerning Ukrainization and the relations between the various groups of the intelligentsia and the Soviet regime. This is explained mainly by the fact that it was the Bolshevik regime that had gained the dominant position in Ukraine by that time and imposed their concept of Ukrainization and ideology on the intelligentsia. This regime also ensured that the archives stored the material of only the Soviet “origin”. Novelty. Drawing on the culturological methodology the author has managed to analyze in detail a lot of works concerning with Ukrainization and diversification of the views of the various groups of the old intelligentsia regarding their attitude to various authorities. Taking into account the above mentioned considerations, the author has preferred to identify the relations of the old intelligentsia with the Bolshevik government in the context of Ukrainization during the Ukrainian Revolution of 1917–1921. The practical significance. The information contained in this paper may be used for further research of the issues mentioned above as well as in the process of developing new educational and methodological material in culturology, in particular history and theory of culture and as well as history and theory of Ukrainian culture.

The aim of this paper is to retrace the historical dynamics of the development of arts and crafts as a cultural phenomenon. Research methodology. The article used a historical approach to study the dynamics of development of decorative and applied arts. In analyzing the role of arts and crafts in different historical periods, a cultural approach has been used. Results. The historical dynamics of developing decorative and applied arts is considered in the context of cultural approach. Particular attention is paid to those cultural aspects that have the formation of decorative and applied arts in a given historical period. The handmade practice is considered as a modern form of the existence of arts and crafts. The development of arts and crafts is closely linked to the changes in the cultural paradigm of the society. At the initial stage of development, the main feature of creativity is syncretism. The main categories of arts and crafts are formed in antiquity during the transition to the philosophical worldview. At the age of the Middle Ages, social functions of decorative and applied arts are more clearly distinguished, the conditions for the development of machine production are emerging, which predetermines the antithesis of arts and crafts and mass production in the historical process. Novelty. Cultural approach to the study of decorative and applied art has not been used yet. Under the conditions of total seriality and virtual reproducibility of any material objects offered by the society of consumption, unique things become a special value, which makes the research of handmade practice relevant. The practical significance. The paper may be of a particular interest to the specialists in cultural studies.

The aim of this paper is to highlight the specific features of the Armenian diaspora culture, which were formed under the influence of new socio-cultural realities on the lands of Ukraine. Research methodology includes the methods of comparative analysis and synthesis, as well as historicity. Results. Over the centuries of the Armenians living on the lands of Ukraine, under the influence of local conditions an original culture was formed, which distinguished them from their compatriots both in their historical homeland and other diaspora Armenian associations in the world. The most significant transformations took place with Armenian names and surnames, in their spoken and literary language, as well as in the legal norms regulating the life of the Armenian colonies. In the process of social adaptation of Armenians to local conditions, their names and surnames changed in accordance with the laws of the dominant language in area of their residence: depending on the region of residence, it were Ukrainized, Polonized, Romanized, or Russified. In the XVI-XVII centuries Armenians of Ukraine created their original — the so-called the Armenian-Сumans language, which was used for conversation, conducting business papers and to writes literary works. Novelty of the research lies in the complex definition of new specific features that have appeared in the socio-cultural life of the Armenian colonies in Ukraine after centuries of existence in a foreign land. The practical significance. Knowledge of specific features of the Armenian culture in Ukraine is the basis for further study of the history of Armenian culture and it gives scientists the opportunity to perform the correct historical ethno-cultural identification of persons and artefacts.

A. Marshall, an English economist, highlights humanism of the economic theorizing of human life in the society, the modernity of the basic concepts of economic science within the covers of his book. The purpose of the paper is to review the main theoretical and praxeological concepts of the economic basis of human life, which is identified by A. Marshall in his work. Research methodology includes the application of philosophical (basic) methods of research (the allocation and synthesis), the general scientific principles of objective consideration of facts, and the principles of historicism, special (specific scientific) methods such as cultural analysis and the construction of a cultural landscape. Results. The cultural and theoretical research of the economic concept of human being is done on the basis of the analysis of the multi-volume work of A. Marshall’s work «Principles of Economics». The author substantiates the main theoretical and practical positions of A. Marshall’s work in forming the arts and humanities of the society and the state. The main conceptual guidelines for the state humanitarian policy, which ensure the spiritual development of the individual, are defined. The sociocultural context of the formation of the modern scientific paradigms in the 19th century is highlighted. The author focuses on the cultural comprehension of the essential content of the category — economic cultural studies. The author emphasizes that economic cultural studies have become the newest methodology that ensures the integrity and systematic nature of human discourse. Novelty. The paper presents an attempt to determine the leading tendencies that ensure the transformation of the approaches to the modern analysis of the economic basis of human life. The study enabled to introduce the new theoretical sources in the cultural studies, which are based on forming the newest humane studies and their using in the new human discourses, in particular, economic cultural studies. The practical significance. The relevance of the basic ideas in the theory and practice of the social modern development makes it possible to assert that modern Ukrainian humanitarians need to analyse the basic concepts of economic activity, developed and substantiated by A. Marshall in his fundamental work. The given principles are the essentials for the development of British and world civilizations.

The aim of the paper is to determine the role and place of the virtual object of culture in the process of complex musealisation activities as a leading system for the formation and preservation of cultural memory. Research methodology is based on the culturological approach with the use of analysis, synthesis and historical methods. Results. It has been found that the active development of information and communication technologies laid the foundation for the formation of effective tools for working with information within the framework of musealisation activities and provided for the formation of a new virtual space for communication and practical activities whose objects could be included in the system of formation and preservation of cultural memory. The rethinking of the notion of cultural property in the legal and scientific context, caused by the influence of modern socio-cultural transformations, has created conditions for the full inclusion of virtual objects in the process of preserving cultural memory within the framework of the main forms of actualization of the cultural heritage. Novelty. The paper presents an attempt to consider the virtual objects of culture as a resource base for the implementation of the complex musealisation activities aimed at the formation and preservation of cultural memory. The practical significance. Ukrainian museums may find the information contained in this paper useful for developing a new strategy of communicating process in the virtual space.

The aim of this paper is to analyze the interaction of the old intelligentsia and the Soviet authorities during the 1917–1921 Ukrainian Revolution. Special attention is paid to examining the role of the processes of zminovikhivstvo (“change of signposts”) in changing the views and political preferences of the old intelligentsia regarding the Bolshevik regime in Ukraine. Research methodology. In this study the author uses culturological and comparative principles. They make it possible to analyze a large number of sources, mainly archive material concerning this issue and to make certain conclusions regarding the complicated relationships between the old intelligentsia and the Bolshevik authorities in Ukraine. The paper shows the influence of the processes of zminovikhivstvo on the relations between the authorities and the intelligentsia. Results. Drawing on the archive material the author managed to cover the complicated and sometimes tragic relations between the Soviet regime and the old intelligentsia during the 1917–1921 Ukrainian Revolution. Particular attention is paid to highlighting the influence of the processes of zminovikhivstvo on the change of political, moral and ethical views of the old intelligentsia. The practical significance. The results of this study are integral to further research and can be used as supporting material for the development of education and methodological content for courses of lectures and seminars on the issues of history and theory of culture. Key words: culture, the old intelligentsia, the 1917–1921 Ukrainian Revolution, the Soviet authorities, zminovikhivstvo, national movement, the emigrant intelligentsia.

The aim of this paper is to study the stylistic aspects of D. Scarlatti’s clavier works, to explore the performing interpretations of his B - dur (K 266) clavier sonata drawing on a note and music analysis. Particular attention is paid to an authentic performance by S. Ross and a piano performance by C. Grante. The study also aims at identifying the stylistic and artistic features of the performing interpretations presented. Research methodology. The author suggests a methodological substantiation of the characteristic features of D. Scarlatti’s clavier sonatas on the basis of a systemic approach and music analysis of B- dur (K 266) sonata by D. Scarlatti aiming at a comparative analysis of two interpretations, namely S. Ross’s and C. Grante’s ones. Results. Drawing on a music analysis the paper examines two interpretations of D. Scarlatti’s clavier B- dur (K 266) sonata, namely the authentic interpretation by S. Ross and the piano interpretation by C. Grante. Ascetism, the ability to perform each note and motive deliberately is characteristic to S. Ross’s interpretation. A slowly and rhythmical character corresponds to the author’s tempo instructions. In C. Grante’s interpretation one can feel the expressive variety of the work, which is enriched by the piano’s performing abilities. In his version, the sonata acquires the features of a character; the effect of the unity of two epochs is created, namely the past and the present. Like S. Ross, C. Grante follows the tempo instructions, but minimal slowdowns and accelerations add naturalness and “air” to the general movement. The author concludes that each of the performing interpretations presented demonstrates a new aspect of the sound image of D. Scarlatti’s B-dur (K 266) sonata. Architectonic harmony of S. Ross’s authentic interpretation with related performing features is stylistically different from the C. Grante’s dramatized interpretation. Each of the presented versions deserves attention and is of great artistic value. The practical significance consists in the analysis and comparison of the performing interpretations of D. Scarlatti’s clavier heritage (especially, insufficiently studied sonatas), as well as the study of the features of the composer’s clavier works. Key words: D. Scarlatti’s sonatas, D. Scarlatti’s clavier works, performing interpretations, authenticity, piano.

The aim of the article is to describe all the features of the composers’ types of musical expressive means, which are used in the Psalm 138 «Kamo poydu ot litsa tvoyego» in the V. Kalinnikov’s, M. Lysenko’s and Vedenetsky’s artistic legacy. Research methodology consists of the interaction of such research methods as a system approach used in the art criticism, historical, comparative and genre and style analyses. Results. The composer’s interpretations of the Psalm 138 «Kamo poydu ot litsa tvoyego» are represented with three samples in the national culture. The creation of Vedenetsky is just a religious piece. The interpretations of V. Kalinnikov and M. Lysenko belong to the best examples of the national music culture at the turn of 19-20th centuries. They reconstruct the original homeland music culture, which combines church tradition and musical poetics. The sense on the religious poetical word becomes the fundamental element of the compositions. Both composers use the same strophes (7-10) of the Psalm 138 and tune the musical form of this piece. They make the stress on those elements which look to be more important than the others. The 10th strophe of the Psalm 138 is the main. It becomes the most important for both composers. The culminations of all the pieces are made on the same words of this strophe. The art imagery and esthetic value are also very important for the authors. The composers perceive the canonical text as an art object. The text generates a musical intonation, inspires the harmony and texture, and engenders the form. The composers of different mentalities provide a national character attributes into music. Both of the composers dedicate to the romantic tendency that forms the number of used expressive methods. Both V. Kalinnikov and M. Lysenko use the form of the choir concert, which considers being the most bright and capacious. It is possible to reconstruct all the variety of the feelings and the shades of the piece imagery. The laconic and clean texture, short list of the expressive methods with an accent onto the text shows us a minimalism tendency. The V. Kalinnikov‘s concert shows us an author’s lyric tendency and his song melody. At the same time the art piece written by M. Lysenko is full of the Ukrainian folk intonations and has a more meditative and calm character. Its emotions and feeling are seen from time to time. The temporhythm, which becomes an important factor of the dramatic process, also plays an important part of the image meaning of the Psalm exposuring. Versatile and diverse dynamics in these pieces becomes the main type of musical expressiveness. Novelty. The paper presents an attempt to describe all the features of the composers’ types of musical expressive means, which are used in the work with canonical texts. The practical significance. The paper may be of a particular interest to the specialists in religious music culture. Keywords: sacred music, canonical texts, psalms, composer’s interpretation, musical expressive means.

The aim of this paper is to examine the views of Mark Aurelius, one of the representatives of ancient Roman stoicism, who emphasized the place and role of the human soul in the life of a person, the ratio of reason and feeling as its main components and considered the rational soul as the basis of universal human ethics. Research methodology. In this study the author uses the following methodological approaches: historical, sociocultural, and comprehensive ones. Marcus Aurelius’s views on the place and role of the soul in human life, his attitude to nature and society as well as the development and realization of ethical relations in society are identified drawing on these approaches. The author also uses analytical, comparative and terminological methods of research. A descriptive method for presentation of the content of some conceptual ideas of the philosopher is also used as an additional one. Results. In the context of the philosophical and ethical ideas of Stoicism, Marcus Aurelius substantiates the idea of the rational soul, examines the relationship of its components, like mind and feelings, and identifies the role of the rational soul in the life of a person, his attitude to nature and society. Peace of mind, peace in the soul, according to the Stoic philosophy, is the goal of a rational person. To characterize this psychological state, the ancient Greeks used the concept of “ataraxia”, which means tranquility, fearlessness, peace of mind. A person in the state of ataraxia achieves inner freedom, because his mind controls sensual passions, regardless of external influences. According to Marcus Aurelius, people are created for each other and cannot exist outside of society, therefore they must sincerely and heartily love their neighbors, and their activities should be directed towards the creation of good. The philosopher draws love for neighbors, as a sensual manifestation of the soul, from intellect and logic of the mind. Novelty. The author concludes that according to Marcus Aurelius only a person with a rational soul, whose intellect and sensual intentions are in harmony, can be the carrier of the basic principles and norms of universal ethics. The practical significance. The material of the paper is of theoretical importance for further research of the philosophical heritage of the ancient Roman Stoics. It can also be used in the process of studying humanities in higher education and preparing textbooks for students. Keywords: human being, nature, society, soul, mind, feelings, ethics, stoicism, saintly life.

The aim of this paper is to find out and analyze the features and development prospects of the Ukrainian folk choral art, their amateur and professional essence, and define their value and basic functions in Ukrainian society. Research methodology. A large number of scientific, theoretical materials have been analyzed. Five main research papers (dissertation paper, scientific articles) are processed with the help of a thorough analysis. Results. The role of the essence and value of the folk choral performance in Ukraine has been proved. The influence of the choral art on the society in Ukraine is indicated. The current research revealing the problems of choral performing art is analyzed. The ways of solving these problems are described. The authors have developed their own recommendations for improving the development of folk choral performance in Ukraine. Novelty. The paper presents an attempt to carry out the complex analysis of the folk choral singing in the period of modern development. The practical significance. The material in this article can be of interest to the students of higher educational establishments in the field of folk choral art. Recommendations are given to the study in the educational program of folk choral art and practical work with amateur and professional folk choral collectives.

The aim of the paper is to substantiate the author’s definition of “expressiveness” in the context of piano art based on the system analysis of the “performer’s expressiveness” phenomenon. Research methodology. The article uses the fundamental, general scientific methods and the principles of scientific knowledge, in particular, dialectical, culturological ones, as well as the methods of objectivity, analysis and synthesis, deduction and induction, the methods of systemic, terminological and comparative analysis. Results. Based on the systematic analysis of the “expressiveness” phenomenon in the musical, and particularly, in the piano performance, the essence and structure of the mentioned phenomenon have been discovered. Its components have been defined and the specific features have been developed. The paper suggests the author’s definition of “expressiveness” phenomenon in the context of the piano performance. It has been noted that it is based on the mutually combining and influencing components of the means of expressiveness system: tempo metro-rhythm, melodic intonation means, carcass and pedalization, timbre dynamics. It has been proven that only cohesive use of all the components of the system of the performer’s expressiveness makes it possible to show the emotional programme and display the artistic contents of the composition. It has been concluded that the expressiveness in the piano performance is a complex of individual piano tricks that, when using in the interpretation, helps unfold the emotional program and artistic content of the composition, as well as show the artistic thought of the composer most accurately. Novelty. An attempt is made to present a systematic analysis of “expressiveness” phenomenon in the music performance art. The author’s definition of “expressiveness” phenomenon is given in the context of the piano performance. The practical significance. The information contained in the article can be used in the lectures of the piano classes, as well as in the courses of lectures in “Theory of Music” and “Music Interpretation”.

The aim of the study is to reveal the author’s concept of V. Silvestov’s “Liturgical chants” in the interplay of ideological principles and the contemporary choral writing. To achieve the aim, the following tasks were set: to reveal the author’s concept of V. Silvestov’s “Liturgical chants”; to consider the special features of contemporary choral writing in the composition; to determine the interdependence of ideological principles and the contemporary choral writing. Research methodology. Research papers on the analysis of choral compositions, contemporary writing techniques, creative work of composers were used. The quotes which had been used by researchers in these papers became a basis for preparation of this article. Results. The article reveals the author’s concept of “Liturgical chants”, where the ideological principles and the contemporary choral writing interact according to the following criteria: artist’s personality (his ideological principles, that together outline methodological principles of composition’s «worldview»); contemporary choral writing as a speech level of the artist’s convictions, which is specified in the choral composition by means of external communication; conditioned by means of choral writing of the composer’s ideological principles. Despite the inherent to «Liturgical chants» contemporary way of choral writing (which music language is recognized as a typical Silvestrov’s intonation), this music is a highly spiritual embodiment of the human imagination of God as a Person for communication in the sound-shaped, symbol system of the composer’s creative work. Novelty: the author’s concept of V. Silvestov’s “Liturgical chants” has been considered through the interplay of ideological principles and the contemporary choral writing for the first time. The practical significance. The material of the article can be used by lecturers as optional materials for the major training courses. Moreover, the subject of research will help the students of higher education institutions in process of studying at the choral conducting class, practicing with a choir and choral compositions analysis.

The aim of this paper is to identify the techniques of the meditative state, introspection drawing on the analysis of music language techniques; to study the music language elements and mechanisms of sense making in “Kitsch-Music for Piano” by V. Sylvestrov in detail. Research methodology. The author suggests the methodological support of the techniques of the meditative state in the context of the integral analysis of each miniature individually. The analysis of the music language techniques has been conducted aimed at studying the composer’s style, identifying its specific features in the cycle “Kitsch-Music for Piano”. Results. According to the analysis of the cycle the author identifies and gives reasons for the techniques of the manifestation of the meditative state in V. Sylvestrov’s “Kitsch-Music for Piano”. The concentration on the internal state is realized by such music techniques as an individual sound, interval, which are the self-contained participants of the continuous process. The study demonstrates that, due to the specific nature of the content, V. Silvestrov’s “Kitsch-Music” does not have permanent constructive canons leaning toward the composition and improvisatory melodic freedom, which is of primary importance in all miniatures of the cycle. The specific character of the development of a musical form is characterized as statics embodied in musical pieces in the continuous movement. The author concludes that meditation is not the focus of V. Sylvestrov’s meditative sound-perception: it only prepares the ground for the compositions oriented toward the mode of the enlightened-cathartic state of the soul. Novelty. The author suggests a new approach to identifying the cycle “Kitsch-Music for Piano” by V. Silvestrov from the point of view of the manifestation of the meditative state as well as the composer’s style in the context of the studied composition. The practical significance. The information contained in this paper can be used in the further study of V. Sylvestrov’s style (in particular, the manifestation of meditation, introspection) based on the composer’s “Kitsch-Music for Piano”.

The authors analyze the publications, which studied the changes in the morphological structures of audiovisual arts in modern times. The paper considers the modus operandi of the non-locality principle on the genre structures of audiovisual arts. The study explores the changes in the genre structures of audiovisual arts in the presentation of different communication platforms. The creation mechanisms of the modern genres-hybrids in audiovisual arts are described. The influence of the non-locality principle on the present situation of “unstable” determinacy is revealed. The aim of the article is to examine the changes in the genre structure of audiovisual arts under the influence of the non-locality principle. Research methodology. The study is based on the methods developed in the research works by I. Danilevskiy, I. Yevin, E. F. Smerichevskyi and others. The authors analyze the publications that study the communication and pragmatic characteristic features in the genre structure of audiovisual arts. The authors analyze the publications, which studied the changes in the morphological structures of audiovisual arts in modern times. Results. The paper considers the genesis of genre morphology of audiovisual arts at different stages of existence: from cinematic genres of live-action film and nonfiction film; television genres that originated from journalism and film journalism to the modern hybrid-genres of audiovisual origin. The paper considers the modus operandi of the non-locality principle on the genre structures of audiovisual arts. The study explores the changes in the genre structures of audiovisual arts in the presentation of different communication platforms. The authors provide evidence for the various genre classifications of Internet genres of audiovisual origin (“channel-centric classification”, the classification by expressive means, etc.). The creation mechanisms of the modern genres-hybrids in audiovisual arts are described. The influence of the non-locality principle on the present situation of “unstable” determinacy is revealed. Novelty. The paper is the first attempt for the reinterpretation of the existence of classical, non-classical and post-classic genre morphologies of audiovisual arts under the influence of the non-locality principle. The practical significance. The evidence from this study suggests a variety of means for further scientific reflection on the latest unstable genre arrangement. For the higher education in the special field 021 “Audiovisual art and production” it is crucially important to identify the methodological principles of the analysis of the sources and consequences of modern morphogenesis in the specified artistic realm. Such scientific tools will enhance the qualification of future specialists in audiovisual arts and production. The obtained results make it possible to identify the genre features of audiovisual works, their narrative and event opportunities.

The aim of this paper is to analyze of evolution of show programs in the world dancing art and international show business. At the same time a known quantity of approaches to the global and national development of dancing show programs were added and deepened. Research methodology. Studying dancing shows in Ukraine and abroad represents quite challenging research perspective, the analysis of which is implemented through the use of multidisciplinary approach, in particular, the attraction of methodological tools of the choreology (the method of writing down the signs and characters that indicate movements in dance), culture- and art criticism, the theory of culture and cultural history, theater and esthetics as well. Results. The article deals with the general features of evolution of the adapted for the stage show programs. They are directly connected with the synthesis of theater, are written by the musician and put on the stage by the director. The adapted for the stage show programs are one of types of cultural work and activities the theatrical effects of which are characterized by light, music, suits, etc. The author offers the typology of show programs and determines the place of dance performances in it. At the same time show programs or fancy-dress entertainment programs have the thematic scenario course. It is probable that in the future dancing show programs will be to a large extent focused on the media environment, including on more spectacular, interesting acrobatic and circus tricks, computer special effects in the visual plan. Novelty. An attempt is made in this paper to show the new facts concerning studying dancing show programs in the scientific literature of Ukraine and abroad. The practical significance. Ukrainian scholars may find the information contained in this article useful for developing new concepts of the adapted for the stage show programs in the future.

The relevance of this study lies in the fact that the analysis of the processes of evolution of the views of the old literary and medical intelligentsia in the period of the 1917–1921 Ukrainian Revolution suggests answers to the fundamental question of the relationship between the authorities and the society, the authorities and the intelligentsia in today’s Ukraine. The aim of this paper is to examine the processes of evolution of the views and convictions of the old literary and medical intelligentsia in the period of the 1917–1921 Ukrainian Revolution. Research methodology. In this study the author uses the culturological and comparative methods and principles of the analysis of evolution of the interrelations of the old Ukrainian medical and literary intelligentsia and the authorities during the 1917–1921 Ukrainian Revolution. Results. The paper demonstrates the complicated political, economic, moral, ethical and physical frustrations of the old medical and literary intelligentsia during the 1917–1921 Ukrainian Revolution, civil war and intervention. The author analyzes the issues of the transformation of the interrelations of the old medical and literary intelligentsia and various authorities including the Soviet authorities in Ukraine during the 1917–1921 Ukrainian Revolution, civil war and foreign intervention. Special attention is paid to the process of evolution of the interrelations of the old medical and literary intelligentsia and the Soviet authorities that finally gained a dominant position in Ukraine. The paper demonstrates that the majority of the medical and literary intelligentsia after unsuccessful attempts of a open or concealed fight against the Soviet power had no choice than to gradually move to a neutral position, and then to collaborate with the Soviet authorities. Novelty. An attempt is made for the first time to conduct a culturological analysis of the transformation of the views of the medical and literary intelligentsia relating to various authorities including the Soviet authorities during the 1917–1921 Ukrainian Revolution. The practical significance. The results of this study can be used not only in the process of further culturological research into the above mentioned issues but also when writing methodological recommendations and studying the issues of Ukrainian culture.

The aim of this paper is to analyze the specific features of O. Raidanov’s acting role as a soldier Skoryk and G. Kozachenko in the role of the master Knur. Research Methodology. As part of the psychological approach, the author follows the true intentions of the characters, the contradictions of the external and internal states, nonverbal signals. The author applies the historical approach to define the role of L. Kurbas’s creative work and the creativity of the «Theatre of Coryphaeus» in shaping the Kharkiv actor’s school. Results. The author describes the artistic specificity of the actors of Kharkiv actor’s school of O. Raidanov and G. Kozachenko, as in the case of their character antipodes. The result of this work is the conclusion in the form of comparison of the acting manner of the play of artists with other acting systems, for example, the system of L. Kurbas. It is revealed that the differences are so common features of the performance manner of the play of Raidanov and Kozachenko with the aforementioned and recognized in the cultural space of Ukraine by the theatre systems. The acting play by Raidanov and Kozachenko has been considered from a myth-poetic point of view that made it possible to conclude that folklore can be a platform for the performing arts of artists. The author reveals some specific features as an individual actor’s technique that formed the style of Raidanov and Kozachenko. The work of actors with symbols, like axes, cradles, certain rituals, is analyzed. Novelty. The paper is the first attempt for the scientific interpretation of A. O. Raidanov’s and G. Kozachenko’s acting manner of playing. The author raises the issue of returning the actors’ names to the proper place in the history of Ukrainian culture among the prominent names that have shaped the history of Ukrainian theater and cinema. The practical significance. Conclusions are drawn concerning the presence of a clear stylistic manner in the play of actors O. Raidanov and G. Kozachenko. The material in this article can be used for a theoretical framework in the specialist training programme of actors and directors.

The aim of this paper is to highlight the features of interpretation of the Ukrainian folk-song performance paradigm in the works of the contemporary performers of the Ukrainian song M. Yurasova, I. Chervinskaya, O. Nikitiuk. Research methodology of this paper is based on the principles of the musical and interpretive approach and stylistic analysis. Results. Contemporary artistic incarnations of folk-pop song performances demonstrate their ability to function in different style contexts. M. Yurasov (Mlada) in the album “Oy, Spring, Spring” unites the features of the folk-song performance paradigm (agogy, reduction of words and syllables, exclamations, additional consonants, chanting of vowels, intonational lability, improvisation of melodies, melismatic, ascending glissando at the end of words, sincere lyricism, emphatic emphases), her pop transformation (weak impedance, speaking position of the singer’s apparatus), jazz (typical vocal improvisations, polyrhythm) and its folk modification (electronic versions of folk wind instruments, folk intonations and rhythms accompanied). The features of the folk performance by I. Chervinsky in the program “Chastushki” of I. Zakus’s project “Jazz-Kolo” are “open” sound extraction, micro-glissando, melisma, a break of sound, exclamations, nontemperation, high expression, singing “on a smile”, typical stage image. The “folklorization” of jazz, the representation of folklore as unity in space and time, becomes dramatically significant in Kolomyia. The signs of the folk-song performance paradigm in the works of O. Nikitjuk (agogy, improvisation, expression of the dynamics, glissando, melizmatics, open sound production, “reference” of sound to the distance, chanting of vowels) are combined with its folk-academic option and electronic accompaniment. The free operation of stylistics of jazz, pop and folk-song performances, corresponding to the current trends of multiculturalism, is distinguished by I. Taranenko’s project “Music of the Ukrainian Land” (2016) with the participation of N. Matviyenko. Novelty. The study enabled a better understanding of the manifestations of the synthesis of folk-song performances with jazz and variety arts, which have not been considered by Ukrainian musicology yet. The practical significance of this paper is to create an analytical basis for the research on the special features of the relation of traditions and innovations in contemporary artistic practice and in forming the new methodological bases and educational repertoire of folk-song performers.

The aim of this paper is to examine the issues of the performance of contemporary pop singers. For the development of a professional pop singer not only vocal and ensemble training, music and theoretical disciplines, but also dance and stage movement are of great importance. Results. The author considers the role of body mobility, choreography and stage movement in the process of developing a stage image while preparing a variety show performance. A complex of expressive measures giving freedom of choice for self-expression and presentation of an author’s intention, as well as contributing to the creation of a unique stage image, manifestation of acting skills of the performing artist-vocal singer is developed. The author substantiates the necessity of improvising and experimenting while preparing a variety show performance. The paper presents the practical recommendations for staging the performances of pop singers. Novelty. In addition to vocal singing, body mobility, stage movement, choreography and acting skills are of great importance for professional staging the variety show performances. According to the present study, for the professional training of pop singers at the institutions of higher education it is necessary to teach them the art of vocal singing in combination with above mentioned components. The practical significance. The information contained in this paper can be used for the further development of new pop singer performances, in the process of practical training while teaching choreography, body mobility and acting skills.

The aim of the article is to explain the connection between the disappearance of a powerful stratum of the choral culture of Sumy region of the late 19th century and the early twentieth century and the existence of such a form of the performing folklorism in the contemporary Ukrainian culture as the folk choir. Research Methodology. The author draws on the numerous scholars who study the phenomenon of the performing folklorism, proceeding from K. Kvitka, F. Rubtsov, I. Zemtsovsky, O. Bench-Shokalo, A. Lashchenko and others. The study is based on the relational sampling method. The study investigates this issue by examining and comparing the activities of two folk choirs of Sumy region: the activities of the urban folk choir (which is based in Sumy, the Palace of Culture “Khimik” (“Chemist”) since 2002) and the rural folk choir (at the premises of the House of Culture, village Sad, Sumy region). Results. The author analyzes the publications touching upon the issue of the phenomenon of the performing folklorism. The paper considers the creative work of two contemporary folk choirs of Sumy region. The author reveals the issues of the presentation of the authentic song folklore by these ensembles. It has been found that the choral culture of Sumy region in the second half of the 19th – the early twentieth century reached a high point and had favourable conditions for further development. The negative factors that led to its demise in 20 – 60s of the 20th century are revealed. The author summarizes the system of distinctive features of folk singing artistic performance, not contributing to the preservation of the regional folk traditions. The article explains the connection between the destruction of a powerful stratum of the choral culture of Sumy region of the late 19th century and the early twentieth century and the presence of the negative signs of the performing folklorism of modern times. Novelty. The paper is the first attempt to raise the issue of the state of the contemporary choral culture of Sumy region. This paper proposes a new approach to the application of new methods and the explanation of meaning and origin of the various forms of transformation of folk music culture crystallized in the terms of “folklorism” and “performing folklorism”. The practical significance. The evidence from this study suggests a variety of the issues of the transformation of folklore in the creative work of various choir and ensemble groups that can contribute to the study of forms of performing folklorism.

The aim of this paper is to study the Svyatogorsky Monastery in the aspect of cultural traditions interaction, relying on new data. Research methodology. The application of the hermeneutic method, the culturological approach, and the architectural and stylistic analysis contributed to the obtaining of the conclusions of this study. Results. Based on the new attributive, historical and cultural, art criticism data it is established that the architectural and stylistic transformation of the Transfiguration Church of Svyatogorsky monastery underwent twice: from the pseudo-Byzantine style (design) to the forms of Ukrainian folk wooden architecture (project implementation) and further acquired the features of the typical project for the 19th (decoration and painting). For the first time, the author proposes two versions on the authorship of changes towards the Ukrainian folk tradition of the Transfiguration Church construction: the sisters Barbara and Sophia Lanskyis and the Kharkiv diocesan architect M.A. Kraevskiy. The obtained material also permits to talk about the dialogue of a number of cultural traditions in the space of the architectural complex Svyatogorye: official and popular culture; pan-Orthodox and national and religious; Western and Eastern Ukrainian architectural traditions; national-religious and state-ideological. The features of Ukrainian national culture turned out to be dominant in the art and culture of the region. Novelty. The paper suggests a new approach to the authors of stylistic transformations towards the Ukrainian architectural tradition in the project implementation of the Transfiguration Church of Svyatogorsk Monastery. The practical significance. The results of the research can be used for further research on the architecture and art of Ukrainian monasteries of the late 19th -early 20th centuries.

The aim of this paper is to analyze the works of researchers of the early 20 — 21st centuries on the ornamentation of ceramics, as a semiotic system. Research methodology. Eight major publications on the subject (monograph, scientific journal) have been reviewed. Results. The author gives a summary of the information on the most important for the understanding of the iconic content of the traditional ornamentation of ceramics of the Left-bank Ukraine publications. Attention is paid to the fact of its study mainly in the context of the analysis of individual archaeological communities (with wider borders than the territory under study) as an information carrier about individual beliefs and beliefs with an increase in the reasoning of the conclusions. The dynamics of the development of this phenomenon has not been explored before. The paper concentrates on the process of finding scientific approaches, on the basis of which researchers have sought, on the one hand, to study the structure of the ornament, motives, and on the other — to identify the semantics of various elements. The most systematic study of the semantics of ornaments of a logical cultural and historical community has been with the focus on the artifact proper to it. The use of materials in the Left-bank Ukraine began in this context by publishing the articles and a single monograph. The reasons for the solution of the issue expressed by Vasily Gorodtsov have been obtained in the twentieth century. In the «calendar» ornaments on the ceramics, a generalized representation of the main segments of time during the year is displayed. Since it was impossible to use such ornaments as calendars in the modern sense of the word, the inhabitants of the Left-Bank Ukraine depicted them in order to facilitate the successful passage of certain economic cycles through magical actions with the use of clay products. Novelty. An attempt is made in this paper to show the information on the ornamentation of ceramics of the Left-bank Ukraine as a semiotic system in the history of its studies. The practical significance. Scholars can use this article to write papers on the history of Ukrainian culture.

The relevance of the article. The relevance of the research topic is determined by the extraordinary popularity of the remote form of joint choral performance in contemporary musical culture. The virtual choir is a fairly new, but already very widespread form of music-making, which is gradually acquiring new characteristics and functions compared to those that were inherent in its early days. The main factors of the development of the virtual choir phenomenon can be divided into “evolutionary” (the digitalization of art; the interest of performers in new forms of music making; active development of art therapy and inclusive art practices) and “revolutionary” (the COVID-19 pandemic and the Russian-Ukrainian war, which, although more localized than the pandemic, involves a very large number of choirs that have been unable to work as usual). The latter two factors have led to a quantitative explosion of virtual projects, as well as significant changes in their focus, structure, functions, and composition of performers, etc. that require appropriate scientific understanding. The purpose of the research is to analyze and systematize existing studies of the virtual choir and to make up a strategy for its comprehensive research. The methodology. The study of the available scientific literature on the phenomenon of the virtual choir was carried out using the tools of systematic, textual comparative and comprehensive analysis. The results. The main scientific works on the virtual choir are systematized in four main areas: socio-psychological, technical, didactic and historical. It was found that musicology, choral studies and interpretation aspects have been studied very briefly. Most of the works reveal certain inaccuracies in the presentation of the history of virtual choral performance (except for Сayari), as well as some contradictions in the results of previous studies. In addition, the article raises the question of the conformity of the studied phenomenon with the concept of “virtual choir”. The scientific novelty. For the first time, the research provides a systematic review of scientific papers about the virtual choir, revealing the current trend towards the study of non-musical aspects. The practical significance. The materials of the article can be used in practical activities of conductors and choristers, as well as in the educational process of training conductors, choirmasters and vocalists in conditions of remote work. Conclusions. Scientific comprehension of the phenomenon of the virtual choir is active, but rather limited. Most often, it acts as a certain aesthetic phenomenon that should replace (mostly temporarily) the work of “live” choirs during social cataclysms that limit the possibility of creative communication between people. That is why the most relevant areas of research are socio-psychological and technical. At the same time, many works raise the question of the legality of using the term “virtual choir” for this multimedia activity, which, according to experts, has little in common with both the choir and virtuality. As a matter of fact, the lack of musicological, choral, interpretological investigations, typical for traditional choral activity, revealed within the scope of this study indirectly confirms this idea. The first step on the way to further scientific development of this topic should be a multi-faceted analysis of the current activity of virtual choirs.