Fine Art and Culture Studies

VOCAL AND STAGE IMAGE OF TOSCA – BETWEEN ROMANTIC AND VERIST ROLES

2026-02-03T12:34:06+02:00

The vocal and stage image of Tosca in Giacomo Puccini's opera of the same name is a striking example of the combination of romantic and veristic principles in opera art of the late 19th and early 20th centuries. The research focuses on defining the artistic specificity of the central character, who appears as the embodiment of strength, determination, and psychological depth, as well as on the combination of contrasting vocal colors characteristic of the two stylistic directions. The aim of the study is to conduct a comprehensive analysis of Tosca's vocal and stage image, identify its polystylistic features, determine its place between the romantic and veristic roles, and evaluate the performing and dramaturgical tasks facing the singer. The study aims to reveal the interconnection between Puccini's stylistic techniques and the psychological integrity of the character, as well as to analyze the contrasts in the vocal part that reflect the emotional fluctuations, dramatic tension, and inner struggle of the heroine. The methodological basis of the work is comparative-stylistic and historical-theoretical analysis, an interpretative approach, as well as musical-performance and dramaturgical analysis of sheet music, historical sources, and contemporary critical texts. This allows for a comprehensive assessment of the artistic structure of the character, her vocal, dramatic, and psychological characteristics, and reveals the connection with the performance practice of the late 19th and early 20th centuries. Scientific novelty lies in the systematic study of Tosca as a character on the borderline between romantic and veristic roles, highlighting the specific vocal, dramatic, and psychological means used by G. Puccini. The conclusions emphasize that the image of Tosca combines vocal mastery, dramaturgical integrity, and psychological authenticity, creating a multifaceted stage and performance experience that is relevant to contemporary opera performance and pedagogical practice.

GENRE INTERPRETATIONS OF VOLODYMYR IVASYUK’S FAMOUS COMPOSITIONS BY CONTEMPORARY PERFORMERS

2026-02-03T12:37:16+02:00

The article explores the phenomenon of genre transformations in the song legacy of Volodymyr Ivasyuk as a key mechanism for its revitalization and integration into the modern Ukrainian and global cultural space. The aim of the article is to provide a comprehensive analysis of the genre transformations of Volodymyr Ivasyuk’s song heritage as performed by contemporary Ukrainian artists. The research employs a combination of general scientific and specialized methods. In particular, the historical- chronological method is used to trace the evolution of the perception of Volodymyr Ivasyuk’s work – from classical performers to the most recent contemporary interpreters. The musicological analysis serves to examine in detail the genre mechanics, arrangement techniques, and instrumental palette in modern cover versions. The comparative method enables the identification of similarities and differences between the original works and their new interpretations. Finally, the cultural studies approach is applied to determine the sociocultural role of these interpretations in the modern media space, especially in the context of the actualization of patriotic themes. The scientific novelty of the study lies in the fact that it offers, for the first time, a systematic analysis of contemporary genre interpretations of Volodymyr Ivasyuk’s most iconic compositions and substantiates the idea that his songs, in their modern sound, serve as a powerful tool of cultural diplomacy and regional cultural representation. The conclusions indicate that the research confirms the universality and genre flexibility of Volodymyr Ivasyuk’s creative legacy. It is established that contemporary genre interpretations are the most effective mechanism for revitalizing his heritage, successfully functioning as a cultural bridge between generations. These transformations not only enrich the Ukrainian musical language but also play an important sociocultural role in strengthening national identity. Further research perspectives are focused on exploring the role of Volodymyr Ivasyuk’s legacy as a potent instrument of cultural diplomacy and of his media presence on international platforms.

VALUE-WORLDVIEW FOUNDATIONS AND REFLEXIVITY OF THE CHOIRMASTER IN THE UKRAINIAN CONTEXT OF CULTURAL RESILIENCE

2026-02-03T12:39:30+02:00

The aim of the work is to explore how personal values, worldview orientations, and reflexivity of a choirmaster shape their professional path and support the continuity of the Ukrainian choral tradition under contemporary transformations. Methodology. A cultural and hermeneutic methodology is applied: the phenomenon is examined through the interplay of artistic traditions and societal challenges. Scholarly works by Ukrainian and foreign researchers from the last decade on choral art were analyzed. A historic-analytical approach traces the evolution of Ukrainian conductors’ value principles, and a theoretical-conceptual analysis identifies structural components of conductor’s individuality and reflexive practices. Scientific novelty. For the first time in Ukrainian musicology, the interrelation between a choral conductor’s axiological orientations, civic stance, and reflexivity is systematically elucidated as factors of cultural resilience. The concept of “choral tradition cultural resilience” is introduced, and the role of conductor’s personal values in sustaining the national identity of choral art is substantiated. Conclusions. The personal values and worldview of a choirmaster determine repertoire choices, attitudes toward national musical heritage and innovations, as well as the style of communication with choir and audience. Reflexivity – the ability to critically reflect on one’s own activity – transforms declared values into tools of daily work, ensuring a living link between tradition and modernity. In the Ukrainian context, especially during times of trial (war, globalization challenges), the conductor’s axiological stance acquires a societal dimension: the choirmaster becomes a bearer of collective memory, a transmitter of spiritual values, and a cultural leader of the community. This supports the continuity of choral tradition and its adaptation to new circumstances without loss of authenticity. The article underlines the importance of the conductor combining the roles of artist-interpreter and citizen-culture-bearer, which ensures the viability of Ukraine’s professional choral art in the 21st century.

FIVE MAZURKAS BY VIKTOR KOSENKO

2026-02-03T12:42:17+02:00

Viktor Kosenko is the author of five mazurkas for piano. As of today, there is no special study devoted to the mazurka genre in the artist’s work. The fact of “silencing” these early miniatures is perhaps a consequence of the erroneous perception of these works as something too small and therefore unimportant in the context of the composer's entire work. On the other hand, perhaps such situation is the erroneous interpretation of these works exclusively as an imitation of the styles by F. Chopin and O. Scriabin. However, in our opinion, such approach is one-sided and does not reveal the true intonation of V. Kosenko’s mazurkas, which, although belong to early works, still very prominently reflect the composer’s creative handwriting. These works are highly artistic and vividly representative both in the context of the artist's individual style and in the context of their Ukrainian stylistic face. The main objective(s) of the study is to reveal the originality and significance of V. Kosenko’s mazurkas in the aspect of individual and national style formation. Methodology. Author uses the next scientific methods: intonation, genre and style analysis, methods of observation, comparison, generalization. Scientific novelty. The study of the specified problem has never been conducted, although its solution has the great importance for understanding the scale of the figure and creativity of the outstanding Ukrainian composer Viktor Kosenko. It is important for the reconstruction of the history of Ukrainian music from the standpoint of Ukrainian centrism and the proper inclusion of national achievements in the European context. Conclusions. The early mazurkas by Viktor Kosenko (op. 3, op. 9), unlike the mazurka from the cycle “24 children’s pieces for piano”, demonstrate distinct features of the Ukrainian style. This is indicated by the bright melodism, which is simultaneously one of the most important factor of the composer’s individual style. Lyrism and melodiousness are characteristic features of national style-making, which began to manifest themselves since the formation of the genres as a cant, lyrical song and song-romance. The Ukrainian style of Kosenko’s mazurkas is also indicated by its vocal melodism. All of this are despite the fact that mazurka is a dance genre, and in its romantic interpretation (F. Chopin, O. Scriabin, etc.) it often acquires signs of instrumental melodism, with its broken melodic line, wide jumps. The vocal melodism of mazurkas by V. Kosenko is formed by using of gradual melodic steps, singing of stable steps, including in the melodic relief of numerous melismas, intonations of the melodic and harmonic major/minor third/sixth both in direct motion and as a way of outlining a melodic phrase, various non-chord sounds, sequential and variant development of melodic material, constructive features of vocal phrasing. All features of V. Kosenko’s Ukrainian style in the analyzed mazurkas are inextricably linked with modern writing, which is a characteristic feature of the art of the first quarter of the twentieth century. This fact testifies the high education, professionalism of the composer, his awareness of the latest speech features of his era. The modern features of V. Kosenko’s mazurkas are manifested in rhythmic improvisation, altered harmony, synthetic multilayer texture. Thus, mazurkas op. 3 and op. 9 by V. Kosenko, unlike Mazurka No. 20 from the cycle “24 Children’s Pieces for Piano”, are a vivid example of Ukrainian musical modernism, while the latter should be interpreted within the system and means of expression of socialist realism.

THE IMPACT OF ARTURO SANDOVAL’S WORK ON JAZZ MUSICIANS AT THE TURN OF THE 20TH–21ST CENTURIES

2026-02-03T12:48:33+02:00

The article analyzes the vectors of Arturo Sandoval’s influence on the performance practices of jazz musicians at the turn of the 20th–21st centuries. The aim is to identify the directions of Sandoval’s impact on jazz musicians of this period and to show how his technique, rhythmic thinking, and pedagogical practices reshaped performance standards, repertoire, and instructional approaches. Methodology: a combination of historical-musicological description, comparative stylistic analysis, and a reception-oriented approach is applied. Scientific novelty lies in clarifying the following stable mechanisms of influence: a technical shift in trumpet playing, where reliable work in extreme registers, articulatory precision, and stamina became a new professional norm; rhythmic renewal, whereby clave and tumbao assumed a form-shaping role in improvisation beyond Cuban ensembles; and a pedagogical ecosystem which, through public master classes and institutional changes, balanced academic and improvisational competencies. Conclusions: Sandoval’s impact extends beyond individual virtuosity. Its mechanics manifest in the standardization of advanced trumpet techniques; in the rethinking of the Afro-Cuban code as a form-generating factor in the language of jazz; and in the reorientation of pedagogical priorities that now encourage versatility as a norm. The institutional legitimation of Latin jazz and its presence in leading curricula created a framework in which Sandoval’s model evolved from private virtuosity into a shared professional benchmark. His model raised the technical bar for jazz trumpet, normalized Afro-Cuban metro-rhythm in the mainstream, and reoriented educational practice toward versatility. The results outline a coherent framework for further studies of the reception of Latin American influences in global jazz and for updating higher music-education curricula.

THE PHENOMENON OF ARTISTIC INTEGRITY IN THE INSTRUMENTAL SUITE

2026-02-03T12:51:59+02:00

The relevance of the study is determined by the need to comprehend the phenomenon of artistic integrity in a musical work. It is noted that the category of integrity implies the internal completeness of a work, ensuring its fullness and seman- tic indivisibility as an aesthetic object in which nothing is accidental; it requires the organic unity of all its components, interconnected and harmoniously combined to reveal the artistic idea The aim of the article is to identify the factors con- tributing to the creation of artistic integrity in a musical work, one of which is the suite principle. From this perspective, the instrumental suite is analyzed as a form with a long-standing tradition of formation and development, directly related to the sphere of dance. The methodological basis of the research is a comprehensive approach that combines historical- genetic, musicological-historical, and general cultural methods, which make it possible to gain a deeper understanding of the category of integrity using the example of the instrumental suite. The scientific novelty of the study lies in the fact that the category of integrity is examined in its projection onto the genre of the instrumental suite. Conclusions. As one of the types of cyclic form in instrumental music, the suite is regarded as a coherent phenomenon, considering the fact that each of its parts is self-sufficient and important in terms of the overall dramaturgy of the cycle. Attention is drawn to the unity of the cycle in its multiplicity, which makes it possible to assert that contrast and unity are the defining principles underlying the genre. It is noted that, unlike cyclic forms in which all parts are linked by continuous development, integ- rity in the suite is achieved through a common idea, contrast, and alternation rather than thematic unity or sequential unfolding.

TRANSCRIPTIONS AND ARRANGEMENTS AS AN EXPANSION OF THE VIOLA REPERTOIRE

2026-02-03T12:54:27+02:00

This article examines the diversity of transcriptions and arrangements for viola, covering many genres (solo works, suites, sonatas, concertos, plays, etc.), created from the Baroque to the present day. The aim of the article is to study the specifics of transcriptions, revisions and arrangements for viola, and to investigate their impact on the expansion of the concert-performing and educational-pedagogical viola repertoire. The methodology is based on the following methods: systemic, which traces different genre directions from solo to ensemble; historical-chronological, which emphasizes the change in the approaches of composers, editors, performers, and teachers to creating arrangements depending on their affiliation with a certain style; comparative, which reveals the essence of the differences between different editions of the same works; and analytical method, which includes a detailed consideration of transcriptions. The novelty of the topic lies in the distribution of arrangements, transcriptions and revisions for viola, which make up a significant part of the performing and pedagogical repertoire, by authorship, genres and reasons for creation. During the study, it was found that to a large extent the primary reason for the appearance of transcriptions and arrangements was performing or pedagogical practice, which required replenishment of the concert and educational repertoire. Using the example of J. Brahms's sonatas, R. Schumann's and K. Weber's pieces, the conditionality of the creation of several versions of their own works by composers for different solo instruments was revealed. An analysis of the differences between the editions of the most frequently performed works, namely the Cello Suites by J. S. Bach and the Sonatas op. 120 by J. Brahms, was also provided. Finally, the contribution of performers (V. Primrose, L. Tertis, M. Kugel, V. Borisovsky) and teachers (Z. Dashak, B. Palshkov, M. Grinberg) to the enrichment of the viola repertoire was characterized. Based on the conducted research, it was concluded that the use of transcriptions, arrangements and editions is a widespread and regular practice among viola players, which helps to reveal the richness of the timbre and sound of the viola. In addition, their performance is an excellent opportunity for performers to become more familiar with the creative work of composers, and is not forced for viola players due to the relatively limited original viola repertoire.

FEMALE VOCAL IDENTITY IN CONTEMPORARY POP: NEW PERFORMANCE STRATEGIES AND DECONSTRUCTION OF GENDER STEREOTYPES

2026-02-03T12:57:01+02:00

Goal: to determine the features of the formation and manifestation of female vocal identity in pop art, to identify new performance strategies and ways to overcome gender stereotypes in the work of Ukrainian and Western European singers. Methodology: an interdisciplinary approach was applied, combining musicological, cultural, gender and comparative analysis. Interpretive, discursive and structural-analytical methods were used to identify the features of the evolution of female vocal manner and artistic image on the stage, to study the formation of female vocal identity and the analysis of new performance strategies aimed at deconstructing gender stereotypes in the work of modern Ukrainian and Western European singers. The evolution of female vocal manner from traditional lyrical-ethical sound to experimental models that combine authenticity, social message and stage innovation is considered. Special attention is paid to the transformation of the artistic image of a woman on stage, its departure from paternalistic archetypes and the formation of a multilayered subjectivity. Scientific novelty: for the first time, the phenomenon of female vocal identity in the context of pop art is systematically considered as a dynamic process of interaction between traditional heritage and innovative strategies of self-expression. The mechanisms of transformation of the artistic image of a female performer in the conditions of deconstruction of gender stereotypes and glocalization of the musical space are determined. Conclusions: a comparative analysis of Ukrainian and Western European experience demonstrates that modern pop is becoming a platform for the affirmation of female subjectivity, self-expression, cultural protest and creative autonomy of women, combining traditions and innovations in the development of vocal culture. Trends in the development of female vocal manner demonstrate a transition from traditional models of emotional sensuality to experimental, identification and intercultural forms that combine authenticity, social content and stage innovation.

TRANSCRIPTION IN GLOBAL CYMBALOM ART OF THE FIRST QUARTER OF THE 21ST CENTURY: PERFORMANCE ASPECT

2026-02-03T13:00:58+02:00

The article explores the performance practice of transcription in the global art of cimbalom playing in the first quarter of the 21st century. The relevance of the study is determined by the need to comprehend historical processes and to identify the main tendencies in the development of modern cimbalom performance in concert and pedagogical practice. The issue of transcription gains particular importance in the context of shaping the academic repertoire for the Shunda-system cimbalom and expanding the artistic and technical capabilities of the instrument. The purpose of the paper is to reveal the role of transcription in the formation of the genre and stylistic system of contemporary cimbalom art, to determine its influence on the renewal of concert and educational repertoire, and to identify performance approaches to interpreting works of different eras and styles. The methodology is based on a combination of historical-analytical, comparative, and systemic approaches. The study employs methods of genre and style analysis, interpretative modeling, synthesis of performance practices, and comparative examination of cimbalom transcriptions in relation to original versions for other instruments (piano, viola, cello, etc.). The scientific novelty lies in defining transcription as one of the key factors in the formation of cimbalom performance art in the 21st century. The research outlines the role of the genre in revealing the timbral and technical possibilities of the concert instrument. The conclusions emphasize that the transcription genre is strategically important for the development of cimbalom art both in professional and educational contexts. It contributes to the renewal of repertoire, enhancement of performance mastery, and the strengthening of the national identity of the Ukrainian cimbalom school, particularly through the timbral characteristics of Hutsul-type instruments. In the modern non-academic sphere (crossover, jazz, rock), transcription transforms into authorial compositions, reflecting the dynamism, openness, and creativity of contemporary cimbalom performance.

FORMATION OF THE QUARTET PERFORMER: THE ART OF ENSEMBLE INTERACTION AND CONTEMPORARY PEDAGOGICAL ASPECTS

2026-02-03T14:11:17+02:00

The article explores the development of quartet performers and the organization of the educational process in chamber music training. From a contemporary perspective, the study analyses recent methodologies and approaches to teaching the art of quartet performance, identifies diverse pedagogical strategies, and examines the specific features of interpersonal communication among string quartet members. Within the proposed thematic framework, expressive emphasis is placed on uncovering the psychophysiological traits of chamber musicians, their patterns of interaction, and the role of nonverbal communication in performance. Innovations in compositional thinking – both conceptual and musical – reshape the traditional aesthetic perception of the quartet genre as a vehicle for profound emotion and dramatic expression. The article reviews current methods applied in modern quartet pedagogy. The phenomenon of quartet performer formation from the nineteenth to the twenty- first century has not yet been the subject of systematic research; therefore, this study focuses on the semantics of quartet performance and ensemble collaboration, emphasizing the functional distribution among the ensemble members. The concept of ensemble emotional competence is defined, with particular attention paid to the organizational aspects of quartet-class instruction. Special attention is given to maintaining a psychological balance between individual and collective perception, which is crucial for the formation of young professional musicians. The study highlights the significance of pedagogical models that facilitate the integration of novice quartet performers into the processes of ensemble thinking, intonational and rhythmic stability, logical phrasing. Rehearsal practice is presented as a creative laboratory fostering mutual support, improvisational dialogue, and flexible responses to partners’ musical impulses. Overall, the quartet may be interpreted as a conditional monotimbre – a harmonious synthesis of individual sonorities within a unified ensemble space.

ORCHESTRAS OF FOLK INSTRUMENTS IN LUTSK: FORMATION AND DEVELOPMENT

2026-02-03T14:16:53+02:00

The article examines the concert and performance activities of folk instrument orchestras in the city of Lutsk (second half of the 20th – early 21st centuries), which actively promoted Ukrainian art. In particular, it analyzes the historical stages of development of folk instrument orchestras in city educational institutions and the City Palace of Culture, characterizes their concert repertoire, musical instruments, and the creative achievements of individual orchestral ensembles. Purpose of the article. To study the process of formation and establishment of orchestral performance in Lutsk during the specified period, and to provide an objective description of the concert and performance activities of folk instrument orchestras based on the study and analysis of orchestral concert programs, posters, interviews, and press publications. Scientific novelty. The article presents a comprehensive study of the activities of folk instrument orchestras across all levels of music education and the City Palace of Culture. For the first time, the historical stages of the formation and development of Lutsk folk instrument orchestras, their concert and performance activities, and their role in the musical life of Ukraine have been systematized. Conclusion. The study summarizes the results of research on the activities of folk instrument orchestras at all levels of Lutsk music education and the City Palace of Culture.

THE EVOLUTION OF MEL BONIS COMPOSITIONAL STYLE IN THE CONTEXT OF THE FRENCH MUSICAL TRADITION OF THE LATE XIX AND EARLY XX CENTURIES

2026-02-03T14:20:43+02:00

The study of Mel Boni's work is important for contemporary musicology, as it allows us to rethink the role of female composers in the development of the French musical tradition of the late 19th and early 20th centuries. The aim of the study is to analyse the evolution of Mel Boni's musical style in the context of the French musical tradition of the late 19th and early 20th centuries, to identify the characteristic features of her compositional language and to assess the influence of socio-cultural factors. The study focuses on an overview of the composer's chamber and solo works, taking into account stylistic, harmonic and formative aspects, as well as an examination of her music in relation to the work of contemporary French composers and general trends in musical modernism and impressionism. The methodological basis of the work is comparative stylistic analysis, historical and musicological methods, and an aesthetic and structural approach. The study includes an analysis of musical material, taking into account music criticism and historical sources, which allows us to assess the evolution of Bonis' compositional thinking and her contribution to the development of instrumental and vocal music of her time. The scientific novelty of the work lies in the systematic analysis of Mel Boni's music, taking into account its stylistic evolution and the interaction between the Romantic tradition and modernist tendencies. The conclusions emphasise that Mel Boni's work demonstrates tonal integrity and expressive colouring, as well as reflecting the socio-cultural characteristics of the era. It is not worth looking for ‘feminine’ traits in Mel Boni's music and drawing conclusions about her work while ignoring the social context. Instead, when critically analysing the composer's life and music, she should be viewed as an artist with her own artistic language. The results of the study may contribute to the inclusion of Mel Boony's works in the contemporary concert repertoire and academic discourse.

GENRE AND STYLE BASICS OF O. NAZARENKO’S WORKS FOR THE BUTTON ACCORDION (BASED ON THE SONG “INDIAN SUMMER” BY T. MARKOVA)

2026-02-03T14:26:50+02:00

In contemporary button accordion repertoire, a significant number of concert works represent instrumental arrangements of vocal compositions. Such arrangements open new perspectives for perceiving familiar melodies, allowing them to be “heard” in a timbrally transformed, chamber-orchestrated sound. The transfer of vocal material into the texture of the button accordion creates conditions for conveying the emotional and intonational expressiveness of the original through the instrument’s performative and tonal capabilities. The aim of this article is to identify the artistic and sty- listic principles underlying O. Nazarenko’s approach to arranging T. Markova’s song “Indian Summer”. The research methodology includes genre-stylistic, structural-functional, and analytical methods, which made it possible to reveal the specifics of form-building, texture organization, and expressive means of the selected material. The scientific novelty of the research lies in the definition of the phenomenon of genre-style synthesis in the artist’s button accordion works. It has been established that O. Nazarenko’s style tends towards the classical-romantic tradition, but is distinguished by bold explorations in the areas of texture, harmony and form. The specifics of the composer’s musical thinking are outlined, which stylises the button accordion sound as a ‘miniature orchestra’ and actively uses colour harmony, rhythmic freedom, timbre and texture contrasts. The analysis of the work presented has made it possible to identify the characteristic features of O. Nazarenko’s compositional style in the context of contemporary Ukrainian button accordion art. The conclusions, it is emphasized that the button accordion version of “Indian Summer” arranged by O. Nazarenko not only extends the life of the popular song in a new sonic form, but also demonstrates the potential of authorial instrumental interpretation of vocal works as an important direction of contemporary musical creativity.

CHINESE FOLK INSTRUMENTAL COMPOSITION 'COLORFUL CLOUDS IN PURSUIT OF THE MOON' IN PIANO TRANSCRIPTION BY WANG JIANZHONG AND TRANSCRIPTIONS FOR ORCHESTRA OF TRADITIONAL INSTRUMENTS: INTERACTION OF NATIONAL AND EUROPEAN TRADITIONS

2026-02-03T14:31:11+02:00

The relevance of the study is due to the need for a comprehensive study of the transcription genre in Chinese instrumental music both from the perspective of the interaction of national traditions and the achievements of world musical culture, and in the light of the variability of the embodiment of the original musical material in different instrumental versions. The aim of the article is to understand the stylistic and figurative-semantic transformations of traditional musical material, in particular, through a comparison of the piano piece “Colorful Clouds Chasing the Moon” by Wang Jianzhong, based on an ancient folk instrumental melody, with the arrangement of a folk theme for Chinese traditional instruments. The research methodology is based on a combination of structural-analytical, stylistic, semantic and comparative analysis. The scientific novelty of the study is based on the first experience of comparative analysis of the collected instrumental versions, which allows supplementing the generalization about the features of the functioning of the transcription genre in Chinese instrumental music of the 20th century. and the specifics of the existence of Chinese traditional music at the present stage. Conclusions. It has been established that the initial folklore invariant is flexibly and diversely embodied in different instrumental versions, which also demonstrate different ways of combining national and imported stylistic features. Wang Jianzhong's piano version combines elements of impressionistic stylistics and European principles of the development of thematics, but at the same time transmits the sound images of Chinese traditional plucked instruments and the aesthetics of Chinese poetry and painting. The version for the orchestra of Chinese traditional instruments, performed by the Chinese National Traditional Orchestra, demonstrates a combination of national and world instrumental traditions at the levels of orchestration, harmony, and thematics (a combination of Chinese and instrumental instruments, the European principle of orchestration, quartic harmonies characteristic of European academic music of the 20th century, improvement). Latin American rhythms), tending, on the one hand, to the direction of "world music", and on the other hand, demonstrating types for the Chinese tradition of the mode basis (pentatonic) and the static type of dramaturgy.

THE CONCEPT OF THE SOUND IMAGE IN THE CONTEXT OF SCHOLARLY REFLECTION: MULTIVECTOR INTERPRETATIONS

2026-02-03T14:36:38+02:00

The article examines the concept of the sound image, which has received multifaceted scholarly interpretation. The aim is to summarize the scientific views and approaches to the concept of the sound image as developed in contemporary musicological literature, involving perspectives formulated in related fields of art studies, with the intention of expanding the understanding of this category as complex, multilayered, and interdisciplinary. The study applies general scientific and specialized methods and approaches, including analysis and synthesis, as well as systemic, comparative, and functional methods. The scientific novelty lies in the generalization of various viewpoints on the sound image, with an emphasis on articulating its interdisciplinary, multidirectional, and multilevel specificity. Conclusions. It has been established that the concept of the sound image in modern musicology functions as a phenomenon situated at the intersection of strictly musical (musicological, performance, and compositional) and interdisciplinary approaches. The analysis of scholarly sources revealed the diversity of its development and the effectiveness of its exploration in various dimensions: instrumental specificity, style, genre, and different artistic practices. The sound image appears as a multilevel construct – from metaphysical onto- sonological models to concrete manifestations in texture, timbre, and performance practice. It has been determined that the plurality of approaches to defining the conceptual boundaries of the sound image forms an extensive methodological field, including onto-sonological, stylistic-instrumental, genre-based, and cultural approaches. The wide range of research perspectives underscores the potential of the concept for further scholarly development. It is emphasized that the absence of a universal methodology for analyzing the sound image is conditioned by the objective multidimensionality and multilayered nature of the category. At the same time, contemporary scholarly works form the basis for future methodological synthesis, particularly within the frameworks of cognitive musicology, semiotics, cultural studies, and audiovisual studies.

THE GENRE AND STYLE DIMENSION OF THE PIANO CYCLE BY R. HAHN ”LE ROSSIGNOL ÈPERDU”

2026-02-03T14:40:05+02:00

Reynaldo Hahn (1874–1947), a French composer of the so-called Belle Époque, who for quite a long time remained little-known, or even a secondary representative of French musical art. Only a small number of researchers, mostly French, have devoted attention to his creative portrait and compositional legacy. However, in recent decades there has been a growing interest in the music of R. Hahn. And if vocal opuses could sometimes be seen on concert posters before, then piano creative work remained outside the context of ideas about French music of the late 19th and early 20th centuries (both among musicologists and performers). The aim of the study is to determine the main genre and style parameters of the piano creative work of Reynaldo Hahn, embodied by the composer in his cycle of 53 piano miniatures «Le Rossignol Éperdu» («The Lost Nightingale»). The following methods are used in the study: the genre one – allows to outline the genre basis of the pieces of the cycle; the style one – to identify the main elements of styles that form the individual style of the composer; the semantic one – to investigate the figurative and thematic content of the miniatures, their internal logic and connection with the artistic world of the composer. The scientific novelty lies in the fact that the piano creative work of R. Hahn, represented by the cycle «Le Rossignol Éperdu», for the first time became the object of research attention in the Ukrainian scientific space. Conclusions. The cycle of 53 miniature-poems is a vivid example of the embodiment of program nature, united both by a common title («The Lost Nightingale») and by the titles of each of the movements (I – «Series I», II – «East», III – «Traveller’s Notebook», IV – «Versailles»). The miniatures of the cycle also have program titles, most of which are accompanied by an epigraph or dedication. The main figurative and thematic groups of the poems of the cycle are: mythological and biblical characters; references to real people; impressionistic sketches of nature; poems whose titles reflect the origins of musical genres; references to the portrait genre. Genre synthesis is implemented in the definition of the pieces of the cycle as poems, although in their essence they are piano miniatures. On the example of the selected pieces (No. 1 – «Frontispice», No. 34 – «Rêverie nocturne sur le Bosphore», No. 38 – «Le Jardin de Petrarque», No. 47 – «La Reine au Jardin»), the following stylistic and genre tendencies have been revealed: the elements of romanticism (attraction to program nature, the use of the genre of instrumental miniature); the elements of impressionism (the program of compositions where sketches of nature, depictions of psychological states are found); the elements of orientalism (most vividly embodied in the second movement called «East»); complicated melodic-harmonic structure of the musical fabric, tonal instability, a large number of chromaticisms and alterations; a significant role of the semantics of tonalities.

SOUND DESIGN AS AN ARTISTIC AND TECHNOLOGICAL PHENOMENON: CINEMA, THEATRE, VIDEO GAMES

2026-02-03T14:43:10+02:00

The article proposes an integrated conceptual model of sound design as an artistic and technological phenomenon of contemporary audiovisual arts, developed through an intermedia comparative analysis of cinema, theatre, and video games. In this model, cinema is presented as the normative framework of sound design, systematizing the fundamental principles of sound organization: regulation of the physical parameters of the signal; spatial modeling; temporal organization and editing; mixing hierarchy; modes of realism; semantic and symbolic codes; psychoacoustic effects. At the same time, theatre is interpreted as the art of acoustic modeling of presence, where the integration of technology, the acoustic characteristics of the space, the actor’s physical embodiment, and the audience’s perceptual psychology ensures audiovisual plausibility of the “here and now”. Video games are considered as an environment of algorithmically controlled parametric audio systems that respond in real time to the player’s actions, perform instructional and navigational functions, and structure the emotional landscape. The generalization of these media-specific modes makes it possible to state the transformation of the sound designer’s professional role – from a technical specialist to a co-creator of dramaturgy and an architect of perceptual experience. The aim of the article is to construct an integrated conceptual model of sound design as an artistic and technological phenomenon of contemporary audiovisual arts, based on a comparative analysis of sound in cinema, theatre, and video games. The research methodology is based on systemic and intermedial approaches, which make it possible to consider sound design as an integrated system for organizing auditory experience across different media and to compare the specific modes of its implementation. The following methods were applied: comparative, structural-functional, semiotic, acoustic-technical, analytical, and the method of theoretical generalization. The scientific novelty lies in the proposed comprehensive conceptual model of sound design as an artistic and technological phenomenon, constructed through an intermedial comparative analysis of cinema, theatre, and video games. Within this model, the fundamental principles of sound organization are formulated and systematized.

PARADIGMS OF WESTERN EUROPEAN MUSICAL PROFESSIONALISM: ANCIENT AND MEDIEVAL STAGES OF FORMATION

2026-02-03T14:48:29+02:00

Purpose of the article. The aim of the study is to highlight the initial manifestations of the formation of musical-pro- fessional paradigms of the composer, performer, music theorist (as a predecessor of the musicologist), and music teacher during the ancient and medieval stages of Western European culture. Research methodology. The research is based on the theory of stages (O. Zinkevych) and a comprehensive approach that combines general scientific methods (retrospection, systems analysis, generalization) with methods of art studies – namely, the source-based method (for selecting necessary information from historical musical treatises, manuals, and contemporary scholarly works), the typological method (for determining trends typical of the indicated stages in the formation of musical-professional paradigms), and the explora- tory method (for identifying prominent figures and their professional achievements). Scientific novelty. The novelty lies in tracing the formation of paradigms of musical professionalism in relation to historical and social demands and con- sidering the gender factor; in identifying significant compositional and theoretical achievements, genre dominants, prin- cipal instruments, performance capabilities, and educational aspirations at each stage; and in emphasizing patronage as an external factor in musical professionalism. Conclusions. Antiquity, considering the long and consistent maturation of the archetypes of the professional author-performer, music teacher, and music theorist, can be regarded as the founda- tional stage in the emergence of Western European musical professionalism paradigms. This was manifested in the rise of composer-performer schools, the gradual expansion of the genre system, attempts at the autonomy of the instrumental sphere (which was separating from ancient ritual syncretism), valuable music-theoretical ideas, and educational aspira- tions that, through their spiritual and moral influence on youth, gained worldwide recognition in subsequent centuries. The ancient poetess Sappho (Safo) became the originator of female composition and performance. The achievements of the Middle Ages in both ecclesiastical and secular spheres of musical creativity and performance (choral polyphony, the lyric and epic works of court musicians and knights, the appearance of the author’s collection, itinerant musicians), in pedagogy (guild and school training, functioning of creative schools), and in music theory (improvement of notation, modal thinking, etc.) mark the next stage in the crystallization of musical-professional paradigms. At this stage, a dis- tinction between the composer and the performer began to emerge, although most composers remained anonymous. Only a few names of women composers of that period have survived – the nuns Kassia, Hildegard of Bingen, and Queen Eleanor of Aquitaine. In both stages, patronage served as an external factor of musical professionalism, contributing to the self-realization of creative individuals.

KOLYMA CHRISTMAS (ON THE EXAMPLE OF THE ANALYSIS OF “PRELUDE AND FUGUE IN F-SHARP MINOR” NO. 8 FROM THE CYCLE “24 PRELUDES AND FUGUES” BY V.P. ZADERATSKY)

2026-02-03T15:04:07+02:00

The study is devoted to the diptych “Prelude and Fugue in F-sharp minor” No. 8 from the cycle “24 Preludes and Fugues” by Vsevolod Petrovich Zaderatsky. The cycle was created in the terrible, inhuman conditions of the Stalinist concentration camp – on telegraph blanks, without access to a musical instrument, without certainty about tomorrow and the satisfaction of minimal needs for food and warmth. The scientific novelty of the work lies in a comprehensive interdisciplinary approach that combines musicological, psychological, historical-culturological and theological- symbolic analyses. The cycle appears as a musical-psychological diary that preserves the composer’s personal identity and reflects his inner resilience in extremely difficult life conditions. Diptych in F-sharp minor No. 8 is a kind of page of the musical-psychological diary “24 Preludes and Fugues”. The musical language of the work creates a feeling of a “prayerful pause” in the midst of existential trials. The prelude resembles a pastoral and symbolizes the expectation of the moment of the birth of the Messiah, who will give humanity spiritual renewal and hope for freedom. The fugue acts as a dialogue of three existential voices: the voice of will and struggle (Nietzsche), the voice of presence and peace (Heidegger), and the voice of lived experience (Zaderatsky). The interaction of these voices forms a musical structure that combines personal and collective memory, transforming experiences into a common cultural code of the Ukrainian nation. The combination of traditional musicological analysis with psychological, culturological, and theological approaches allows us to reveal the deep meaning of the musical text. The use of dolce cantabile and cantando remarks, contrasts of tripartite metrical patterns emphasize the symbolic meaning of musical sound as a form of spiritual concentration, inner prayer and psychological resistance of the composer's "I", which transforms extreme personal experience into a harmonious, spiritually rich musical expression. The study confirms that the work of Vsevolod Petrovich Zaderatsky is a special page of Ukrainian musical culture of the 20th century, reflecting the cruel truth of the contemporary reality.

THE INFLUENCE OF NATIONAL CHORAL ART TRADITIONS ON THE FORMATION OF PROFESSIONAL COMPETENCIES OF FUTURE MUSIC TEACHERS

2026-02-03T15:09:46+02:00

In this article, we examine the integration of national choral art, the influence of its long-standing traditions, and the performance experience of practicing teachers into the system of qualification training for students pursuing pre-higher and higher education who are enrolled in the A4 Secondary Education (A4.13 Arts. Music Art) – future music teachers in general secondary education institutions, leaders of children's and youth choir groups. The historical and cultural prerequisites for the development of Ukrainian choral art are outlined, a retrospective of the formation of conducting and choral education in Ukraine is provided, and its features and main areas of activity of prominent figures in choral performance schools, in particular those in Kyiv, Lviv, and Odesa (O. Koshytsia, S. Turchak, P. Muravsky, K. Pigrova, F. Kolessa, M. Kolessa, and many others). The content and structure of professional competencies of future music teachers (who also serve as leaders of children's (school) choirs) in the context of conducting and choral training have been identified, including the improvement of their own performing skills, mastery of conducting and vocal-choral skills, development of their singing culture, musical and auditory perceptions, initial work with choral scores, historical and stylistic, musical and theoretical, vocal and choral, and performance analysis, writing annotations, etc. The pedagogical potential of Ukrainian choral art traditions in the process of forming professional skills, developing professional and value orientations, artistic and aesthetic worldview, and conducting and performing skills of future music teachers has been determined. The expediency of using scientific and methodological works, pedagogical and personal performance experience of leading figures in choral art in the professional training of competitive specialists who are proficient in modern scientific theories and technologies in the field of arts education and capable of professional musical and pedagogical activity, self- education, and professional self-improvement.

STYLISTIC FEATURES OF THE INTERPRETATION OF GIOVANNI BOTTESINI'S CONCERTO NO. 2 IN B MINOR FOR DOUBLE BASS AND ORCHESTRA

2026-02-03T15:39:35+02:00

The article examines the stylistic features of the interpretation of Giovanni Bottesini's Concerto No. 2 in B minor for double bass and orchestra. In the context of the work of the outstanding Italian composer-double bassist, the creative achievements that became "revolutionary" for the development of the double bass concerto genre are analyzed. Research attention is focused not only on the technical discoveries of the instrument, a new model of concert style is revealed, in which the double bass appears for the first time as a full-fledged carrier of melodic and dramatic expressiveness. Particular emphasis is given to vivid examples where different types of thinking are synthesized – solo and ensemble. which led to the emergence of a new model of instrumental concerto. It is noted that Giovanni Bottesini's Concerto for Double Bass and Orchestra No. 2 in B minor takes undisputed leadership in the repertoire of double bassists and is one of the top concerts in world performance practice. It has been studied that the work remains an elite musical work, which reflects the level of instrumental mastery and artistic thinking of the musician, their common features. The purpose of the article is to analyze and reveal the uniqueness of the composition, using the example of the Concerto for Double Bass with Orchestra No. 2 in B-moll by Giovanni Bottesini, to provide a characteristic of the artistic and technical means and stylistic features that determine the specifics of the performance interpretation. The study traces the formation of the double bass as a solo instrument, outlines the role of Bottesini in the formation of a new concert style, and reveals the features of lyrical thinking, dynamic expressiveness and improvisation of his concerts. Research methodology. The article is based on a set of approaches aimed at a comprehensive study of the specifics of the interpretation of the Double Bass Concerto No. 2 in B-moll by G. Bottesini. The study uses historical-contextual, system-analytical, comparative-stylistic, musical-analytical and interpretative-performing methods that provide a deep disclosure of the genre, style and performance features of the composer's Concerto. Scientific novelty. It consists in a comprehensive analysis of the interpretation of the double bass Concerto No. 2 in B minor by G. Bottesini, in particular in determining the specifics of his performance style, interpretative principles and the role of the composer in the formation of the virtuoso direction of double bass art. For the first time, the emphasis is placed on the relationship between the composer's idea and performance practice as a key factor in the development of the double bass Concerto genre. The conclusions indicate that the Concerto for Double Bass with Orchestra No. 2 in B minor by G. Bottesini laid the foundation for a new type of double bass concerto, which combines vocals, technical virtuosity and ensemble interaction with the orchestra.

ANATOLIY NIKIFORUK'S CREATIVE ACTIVITY IN THE ASPECT OF THE THEORETICAL CONCEPT OF UNIVERSALISM OF THE CREATIVE PERSONALITY

2026-02-03T15:43:52+02:00

The article is devoted to the figure of the famous Ukrainian musician-teacher Anatoliy Nikiforuk. A representative of the cohort of accordion players of Khmelnytskyi region, a bearer of the traditions of the Lviv accordion school, he assimilated various regional trends, which were embodied in productive creative activity. The study of his professional achievements is important in the context of the study of musical loci of Ukraine. The purpose of the article is to trace the stages of professional formation and facets of creative activity of A. Nikiforuk; to highlight important facts of the artist's creative life, in particular the influence of leading musicians on the formation of his professional skills and creative interests. Methodology is complex and constitutes a set of scientific approaches: biographical and chronological - for the study and reproduction of the facts of creative life; systematization and generalization - for the processing of information about the musician's activities; activity-structural - as an analytical toolkit of the theory of universalism of personality. The scientific novelty of the article lies in the fact that for the first time in Ukrainian musicology, the creative activity of A. Nikiforuk has become the object of scientific research. For the first time, the artist’s works and pedagogical achievements are outlined in terms of the activity-structural model of a universal creative personality (O. Komenda). Conclusions. The multifaceted creative activity of A. Nikiforuk represents the activity model of a universal creative personality, as it combines pedagogical, compositional, performing, methodological components, musical and public work in organizing and conducting competitive events. According to the concept of O. Komenda, «a universal creative personality is considered to be a creative personality that is characterized by a combination of at least three types of activity, among which leading and auxiliary ones are distinguished» (Komenda, 2020: 381). At different stages of formation, the priority of these components changed, the model underwent transformations due to the expansion of the spheres of creative activity, and accordingly, the dominance of the leading direction changed. During the period of study, this was a performing activity, today the general profile of the artist is pedagogical practice. This makes it possible to characterize the artist as a «universal teacher».

GENRE AND INTONATIONAL SPECIFICITY OF UKRAINIAN MUSICAL NEO-ROMANTICISM IN YURIY OLIYNYK'S “ROMANTIC” CONCERTO FOR BANDURA AND ORCHESTRA

2026-02-03T15:47:38+02:00

The study summarizes the genre-stylistic and intonational features of Yuriy Oliynyk's "Romantic" Concerto for bandura and orchestra, a monumental work demanded in modern academic bandura performance practice of the diaspora. The purpose of the work is to identify the genre and intonational specificity of the "Romantic" Concerto within the context of Ukrainian musical neo-romanticism and the processes of symphonization of bandura instrumentalism. Methodology of the work. Essential for this work are the genre-stylistic, intonational, musical-culturological, as well as analytical-musicological research methods. The scientific novelty of the work is determined by the fact that it first presents a systematic analytical summary regarding the genre-intonational specificity of the "Romantic" Concerto, which constitutes a key example of academic bandura instrumentalism of the Ukrainian diaspora and establishes the universality of the bandura in a new dramaturgical context. Conclusions. Yuriy Oliynyk's work is a significant contribution to the development of academic bandura art, giving the bandura a new cultural significance – a symbol of the existence of Ukrainians outside the Motherland. The composer operates with diasporic neo-romanticism, which organically combines the heroic spirit and the task of symphonizing the instrument, providing the bandura with the status of a full-fledged concert soloist. Yuriy Oliynyk's "Romantic" Concerto for Bandura and Orchestra (1987) is one of the most large-scale and conceptually significant works for this instrument, which was formed in the wake of Ukrainian diasporic neo-romanticism at the turn of the 20th and 21st centuries. The work acquires the meaning of a heroic-lyrical musical manifesto, which organically integrates the virtuoso tradition of the European romantic concert with the national genre-intonation specificity of bandura art. In this context, the Romantic Concerto acts as an important socio-cultural bridge, demonstrating not only the symphonic universality of the bandura, but also the aesthetic guidelines of diaspora art, focused on the preservation and actualization of national spirituality. A comparison of the Romantic Concerto with other works of this genre in the work of Yu. Oliynyk testifies to the three-fold path of national identity: from neo-romantic heroics to archetypal rooting and global polystylistic dialogue. Thus, the masterful symphonization confirms the universalism of the bandura, capable of integrating historical traditions and the current context of world academic music.

JAZZ FUSION IN THE WORK OF KENNY GARRETT

2026-02-03T15:50:35+02:00

The article explores the features of jazz fusion in Kenny Garrett’s oeuvre. The aim is to provide a systematic account of the specificity of jazz fusion in Garrett’s work and to trace the evolution of rhythm-and-texture solutions from his experience in Miles Davis’s ensemble to his own albums. Methodology: a combination of the historical-analytical approach (biographical milestones and contexts), structural-stylistic analysis (pulse, texture, thematism, the role of the bass–drums pair and the keyboard–percussion layer), reception analysis of concert and studio realizations (the pairing of «long waves» of live sound with compact studio track forms), as well as a comparative interpretation of key albums and ensemble practices against descriptions of fusion aesthetics in the scholarly literature. Scientific novelty lies in clarifying the mechanics of Garrett’s fusion thinking as a stable model of form-building, which includes: an extended vamp/ostinato with a steady groove; a riff-and-variant organization of material according to the principle «riff – variant – gradation»; the priority of micro-rhythmic shifts and changes in textural density over frequent harmonic turns; multilayered interaction among bass, drums, and synthesizers; and modal improvisational «arches» of the alto saxophone as the leading form-forming factor. It is shown how Afro-Caribbean clave models and the urban pulses of the 2000s are integrated into his poetics without sacrificing the complexity of phrasing. Conclusions: in Kenny Garrett’s music, fusion functions as a way of structuring musical time and texture. The experience of Miles Davis’s ensemble consolidated parameters of extended time spans, a steady backbeat, and layered texture; in Garrett’s solo work these principles take on various sonic configurations – from the acoustic model of Songbook to the electrified and dance-oriented Happy People and Do Your Dance!, and further to integrative work with the «memory of pulses» in Sounds from the Ancestors. The proposed analytical framework explains the recognizability of the author’s style.

VOCAL AND STAGE ART OF THE THEATRE “BEREGYNYA” IN THE DIMENSIONS OF THE POST-FOLKLORE ERA

2026-02-03T15:54:18+02:00

The purpose of the study is to analyze the vocal and stage art of the Ukrainian folklore theater "Berehynia" in the context of the post-folklore era and identify its artistic, interpretative and communicative features. The results of the study indicate that the theater "Berehynia" is an example of a living transformation of folk art, where folklore heritage becomes a means of spiritual self-expression, the formation of national identity and artistic innovation. The team demonstrates the ability to creatively rethink traditional forms, integrate them into a modern stage context and communicate with different generations of viewers. The study showed that the theater implements the principles of synthesis of the traditional and modern, combining authentic singing, dramaturgy, choreography, scenography and musical accompaniment into a holistic artistic form. The performances of "Berehynia" demonstrate a rethinking of folklore material: folk songs and rituals become a means of creating a stage image, symbol and communicative message. The scientific novelty of the work lies in the comprehensive consideration of the Berehynia Theater as a laboratory of post-folklore vocal and stage art, combining authenticity and innovation. For the first time, the aesthetic principles of the collective, vocal and stage strategies, manifestations of post-folklore thinking and the socio-communicative function of folklore on the modern stage have been systematically analyzed. Conclusions: the work of the Berehynia Theater as a phenomenon of modern Ukrainian vocal and stage art is a representative model of post-folklore synthesis, which forms a new aesthetics of the Ukrainian stage and determines the prospects for the development of modern stage folklorism. The use of authorial stylization, interactivity and innovative stage techniques emphasizes the post-folklore nature of the collective's work and its ability to combine tradition with current socio-cultural demands.

TRADITIONAL SINGING IN CONTEMPORARY UKRAINIAN VOCAL-STAGE CULTURE: INTERPRETIVE STRATEGIES AND TRANSFORMATIONAL PRACTICES

2026-02-03T15:59:20+02:00

The aim of the article is to examine the functioning of traditional singing in the modern vocal-stage culture of Ukraine, in particular, to analyze interpretive strategies and transformational practices using the example of the work of individual performers (Yu. Yosyfovych, A. Matvienko, K. Chili and Y. Yurina). The results of the study show that the interpretive strategies of modern performers have different artistic orientations – from preserving the natural timbre and original manner of sound production to creating post-folkloric and experimental models. In the work of Y. Yosyfovych, there is a tendency to chamber stage reconstruction of traditional singing; in the performance of A. Matvienko – a delicate combination of tribal authenticity with semi-academic vocal technique; in K. Chili – a deeply spiritual and metaphorical interpretation of folk melodies through the prism of world music; in Y. Yurina – a combination of traditional melodies with electronic rhythms and urban soundscapes. The scientific novelty lies in the attempt to systematically comprehend traditional singing as a multidimensional phenomenon of modern vocal culture, which functions at the intersection of ethnic, academic and pop discourses. For the first time, artistic and performing models of modern interpretations of folk singing are generalized, representing a new type of vocal identity in the Ukrainian cultural space. Conclusions: it is emphasized that modern transformational practices do not deny authenticity, but expand its semantic boundaries, integrating folk song tradition into the context of global stage culture. Traditional singing acquires the function of a communicative bridge between the past and the present, forming the basis for the development of the national vocal brand of Ukraine.

MINIATURES FOR DOMRA SOLO BY B. MIKHIEIEV: GENRE-STYLISTIC AND PERFORMATIVE FEATURES

2026-02-03T16:05:04+02:00

The article addresses the problem of solo repertoire for the domra, which remains the least explored aspect of domra art. The relevance of the topic is determined by the need for a systematic approach to revealing the genre-stylistic and performative features of works for domra solo, based on the cycle «Seven characteristic pieces” by B. Mikhieiev. Previous studies devoted to domra miniatures, in particular the article of I. Formanyuk, L. Babich, S. Bilousova and N. Kostenko are analyzed. Special attention is given to the genre-stylistic diversity, cyclic organization, and specific characteristics of musical miniatures that are grouped into cycles and albums, including folkloric, programmatic, and non- programmatic examples. The concept of «expanded domra technique» is applied, encompassing traditional playing techniques as well as elements borrowed from the performative repertoire of other instruments. Using the examples from the cycle «Seven characteristic pieces», the article analyzes the use of rhythmic asymmetries, metric-rhythmic formulas, various articulations, different types of pizzicato and legato, harmonics and chordal techniques. The interrelation of the pieces within the cycle is highlighted through types of programmatic content, genre affinity, and the expanded domra technique, which enhances the expressiveness of the musical material. The study confirms that B. Mikhieiev’s cycle represents a significant phenomenon in Ukrainian domra art, combining technical versatility with artistic expressiveness. The author proposes further analysis of solo domra works, performance techniques, and the development of the miniature genre in both solo and ensemble contexts.

PERFORMATIVE-IMPROVISATIONAL THINKING IN THE FOCUS OF SCIENTIFIC DISCOURSE

2026-02-03T16:07:31+02:00

The article explores the phenomenon of performative-improvisational thinking as one of the central categories of contemporary musicology. Its relevance is determined by the growing interest in the internal mechanisms of performing activity, which shape interpretive, communicative, and creative aspects of musical art. The study emphasizes that performing thinking is a complex form of artistic cognition integrating analytical, emotional, and imaginative components into a unified creative process. Purpose of the study. The purpose of the article is to generalize scientific approaches to understanding performing thinking and to identify the specific features of performative-improvisational thinking as a distinct manifestation of musical consciousness. The research aims to establish semantic intersections between different theoretical frameworks and to outline the specificity of this phenomenon in the context of modern performance. Research methodology. The research methodology combines analytical, comparative, and system-integrative methods, allowing for the synthesis of various theoretical models – integrative, structural-analytical, interpretological, communicative, intonational, and pedagogical. Each approach reveals a particular facet of the performer’s cognitive and creative activity, from logical analysis and interpretation to imaginative association and pedagogical development. Scientific novelty. The scientific novelty lies in the systematic integration of diverse research perspectives, forming a meta-level understanding of performing thinking as a holistic and flexible phenomenon. The study conceptualizes performative-improvisational thinking as a dynamic and multidimensional process situated at the intersection of performing and compositional activity. It highlights improvisation as a field where intuitive creation and rational organization merge into a single act of musical invention, modeling the performer’s creativity “here and now.” Conclusions. Performing thinking demonstrates a multilayered nature that unites cognitive, emotional, intonational, communicative, and creative-actional components. Its study reflects the shift of modern musicology from the technical aspects of performance toward viewing the performer as a co-creator of musical meaning. Performative-improvisational thinking represents a dynamic mechanism of artistic reflection that embodies spontaneity and structure, freedom and logic, and serves as a model of real-time creative consciousness.

INTERPRETATION OF THE SOUND IMAGE OF THE LUTE IN CONTEMPORARY GUITAR PERFORMANCE (BASED ON GIOVANNI GIROLAMO KAPSBERGER’S “CANARIO”)

2026-02-03T16:10:39+02:00

The article is devoted to the interpretation of the sound image of the lute in contemporary guitar performance, using Giovanni Girolamo Kapsberger’s Canario as a case study. In modern guitar art, the revival of ancient music heritage primarily manifests as a return to the traditions of lute playing and theorbo performance. Kapsberger’s Canario for theorbo vividly illustrates the current tendency among performers to engage with the musical legacy of the past. The purpose of this study is to identify the features of contemporary guitar performance aimed at actualizing early European music through the interpretation of the sound image of the lute, exemplified by Kapsberger’s Canario. The methodology is based on genre-stylistic, historical-cultural, and semantic approaches. Although Canario is a popular piece within both performance practice and audience reception, it has not yet become the object of detailed musicological research, which constitutes one aspect of this study’s novelty. Furthermore, there is a scar- city of sources dedicated either to Kapsberger’s creative output or to the ancient dance genre canario itself, which also requires scholarly attention, adding another dimension of novelty. The conclusions define the genre and stylistic features of Kapsberg- er’s Canario, highlighting its connection with dance traditions and the emancipation of instrumental thinking at the boundary between the Renaissance and Baroque eras. The architectonic structure of the piece is analyzed, with special attention given to interpretative challenges related to tablature transcription, ornamentation, and texture reconstruction. It is emphasized that the contemporary performer acts not merely as a reconstructor, but as a co-creator of the sound image. The transformed sound image of the lute within the guitar environment emerges as a musical form of cultural memory, renewing the connection between the past and the present within a new acoustic space. The interpretation of Kapsberger’s Canario demonstrates that the return to early repertoire is not only an act of historical reconstruction but also a living form of artistic experience.

SPECIFIC FEATURES OF CONCERTMASTER ACTIVITY IN STUDENTS’ PROFESSIONAL TRAINING

2026-02-03T16:14:48+02:00

The article is devoted to a comprehensive analysis of concertmaster activity in the academic singing class, which is considered a multifaceted type of musical performance and pedagogical work requiring a combination of pianist mastery, analytical depth, and psychological sensitivity. The purpose of the research is to carry out a complex analysis and reveal the multidimensional essence of concertmaster activity in the academic singing class, to determine its specific features and key professional requirements, and to outline its equal pedagogical, performing, and psychological roles in the professional training of future vocalists. Methods of systemic and functional analysis were applied to study concertmaster activity as a complex multicomponent process. The comparative-descriptive method was used to define the specifics of working with vocalists (with an emphasis on the fusion of music and text, and the need for dictional sensitivity) as opposed to accompanying instrumentalists. The structural-logical approach was employed to identify and substantiate the key functions of the concertmaster (educational, formative, developmental, psychological). The scientific novelty of the study lies in the fact that, for the first time, the functions of the accompanist in the academic singing class are systematized and detailed as those of a full-fledged teacher-mentor and co-author. It is substantiated that the concertmaster’s professional activity is not only performative but also requires a high level of psychological competence and empathy to create an atmosphere of trust, relieve stage anxiety, and ensure the student’s harmonious development. It is revealed that interpretive co-creativity is a key component integrating deep analysis of the vocal part and a flexible response to the artistic intent. The study concludes that concertmaster activity in the academic singing class is an equal and integrative part of the educational process, requiring from the specialist a combination of technical excellence, deep analysis, flexibility, ensemble hearing, and sensitive pedagogical support. The concertmaster serves as a support and source of inspiration, fostering in the student professional thinking, artistic taste, and stage confidence. Such a comprehensive functional approach ensures the effective professional formation of future vocalists.

INTERACTION BETWEEN PIANIST AND STRING PLAYER IN CHAMBER ENSEMBLE SETTING: TECHNOLOGICAL ASPECT

2026-02-03T16:18:35+02:00

The purpose of the article is to identify the specific features of interaction between a pianist and a performer on a string instrument from a technological perspective, taking into account the peculiarities of sound production techniques of each instrument. The research methodology is based on a set of scientific approaches that contribute to revealing the chosen issue, including: the comparative method – used to analyze articulation and sound production techniques on different instruments; the empirical method – applied to record real situations of ensemble performance and identify problems of intonational, bowing, and timbral coordination; and the descriptive method – aimed at systematizing and generalizing conclusions regarding the technological aspect of ensemble interaction. The scientific novelty lies in identifying specific technological mechanisms of ensemble interaction between the pianist and the string player, based on a comparative analysis of their performance techniques. For the first time, the correlation between bowing techniques of string instruments and piano articulation in ensemble practice has been analyzed, their interdependence traced, and practical ways of achieving unity of articulatory and timbral expression in a chamber-instrumental ensemble have been determined, which constitutes an integral part of effective ensemble communication. Conclusion. The study established that collaboration between musicians in a chamber ensemble takes place through constant dialogue and creative interaction, where both technical mastery and a deep understanding of the sound production specifics, articulation, and organological characteristics of each instrument are crucial. It has been proven that the interaction between the pianist and the string performer in ensemble playing is based on the mutual coordination of articulation, timbre, and dynamic means of expression, ensuring intonational unity of performance. Practical approaches to achieving the most homogeneous sound between instruments that are seemingly “conflicting” in timbre and sound production principles have been proposed. It was found that the piano, due to its timbral flexibility and wide dynamic range, functions as a kind of “mediator” in the ensemble, ensuring timbral accommodation and sound balance. Thus, it has been determined that the conscious use of performance techniques, articulation, and timbral correspondences in piano playing contributes to forming a qualitatively new level of ensemble interaction based on co-creativity, aural sensitivity, and interpretative coherence.

HISTORICAL, CULTURAL AND ARTISTIC DETERMINANTS OF THE DEVELOPMENT OF FOLK ORCHESTRAL ART IN THE KHARKIV REGION

2026-02-03T16:27:40+02:00

The purpose of the article is to explore the gradual process of formation and development of folk orchestral performance in the Kharkiv region from the late 19th to the 20th century, to outline the specific features of orchestral ensembles, repertoire policies, and the main directions of the creative activity of regional folk orchestras. The study highlights the stages in the evolution of folk orchestral groups – from amateur ensembles to professional philharmonic formations – and examines their role in shaping the system of music education for folk instruments. The scientific novelty of the article lies in the comprehensive understanding of the process of establishing folk orchestral performance in the Kharkiv region, as well as in clarifying, supplementing, and interpreting historical information concerning the activities of particular ensembles and performers. The obtained results deepen the understanding of the evolution of the regional folk instrumental performance tradition and its importance in the formation of the academic folk orchestral art of the Kharkiv region. Conclusions. It is summarized that the folk orchestral art of the Kharkiv region developed as a multilevel system based on the interaction of amateur, educational, and professional environments, and became an important component of the national cultural space in the second half of the 20th century. The article emphasizes the significant role of the experimental activity of Kharkiv artists in improving musical instruments and their fruitful collaboration with local craftsmen, which substantially influenced the formation of orchestral compositions and the consolidation of achieved models in subsequent performance practice. The sociocultural factors determining the development of the folk orchestral movement in the Kharkiv region are outlined: the influence of orchestral ensembles on the popularization of folk instrumental performance, the support of state institutions, the establishment of a professional education system for folk instruments at all levels, the activity of concert organizations and amateur ensembles, and the interaction between professional and amateur environments. Special attention is given to the creative, performing, and arrangement activities of Kharkiv musicians in the development of the folk orchestral repertoire, as well as to the involvement of Ukrainian composers in creating original works for Kharkiv ensembles. The article highlights the impact of regional artists on the formation of Ukraine’s academic folk orchestral art, the development of performing traditions, and the promotion of Ukrainian folk music.

TRANSFORMATION OF CHINA’S PIANO CULTURE: CONCEPTS OF ADAPTATION, HYBRIDITY, AND CULTURAL SYNTHESIS

2026-02-03T16:30:35+02:00

The piano, as a musical instrument of Western origin, has undergone a complex process of adaptation, integration, and reinterpretation within the context of Chinese national culture. Throughout its development in China, the instrument gradually assimilated the characteristic features of traditional Chinese music – its modality, melismatic texture, rhythmic flexibility, and distinctive intonational formulas – resulting in the emergence of unique forms of artistic expression. The article examines the essence of the phenomena of Sinicization and localization of piano music, analyzing the main concepts of adaptation, hybridity, and cultural synthesis that define the specific features of the contemporary development of piano art in China. The study focuses on identifying the key directions of creative integration in the process of nationalizing Chinese piano art, including the combination of folk musical elements with academic forms, the reform of the piano education system, the intensification of interdisciplinary interaction, and the implementation of digital technologies in pedagogical practice. Such a synthesis of traditional and modern approaches forms a new model of musical communication, contributing to the renewal of artistic processes and expanding the potential of contemporary music education. The research demonstrates that the process of cultural adaptation and localization of piano art possesses not only aesthetic but also profound sociocultural significance, as it fosters the preservation of national identity, the actualization of spiritual values, and the revival of cultural memory. In this context, Sinicized piano art emerges not as a mere reproduction of Western models but as an independent direction of cultural development that combines the traditional principles of Chinese music with modern forms of artistic thinking, thereby affirming the creative self-sufficiency and cultural integrity of Chinese society. Special attention is given to the role of compositional creativity and performance interpretation in shaping new artistic models that merge Western harmonic logic with traditional Chinese sound imagery. These processes reflect the tendency toward global cultural exchange while simultaneously emphasizing China’s aspiration for self-affirmation within the global musical space. Consequently, piano art is presented as a dynamic sphere where the traditional and the modern, the national and the universal, are harmoniously intertwined – defining its significance within the system of contemporary musical culture.

“HOMIN” CHOIR – AT THE INTERSECTION OF MANAGEMENT AND MARKETING

2026-02-03T16:34:29+02:00

The Lviv Municipal Choir “Homin” was founded in 1988. The famous choirmaster, Honored Artist of Ukraine Oleg Tsyhylyk was the founder of the collective. Under his leadership “Homin” became a laureate of numerous competitions and festivals, and went on many foreign tours. Starting in 2023, a new page in the history of the collective began. The choir entered to Lviv Organ Hall, and Vadym Yatsenko was appointed its leader. From that moment on, not only the com- position of the collective, its repertoire, but also the methods of working with the target audience changed. All this caused the interest of the general public to this collective, made it recognizable. The main objective(s) of the study is to trace the methods and means used by the collective managers to increase the interest of the general public to the work of the “Homin” Choir. Methodology. Methods of observation, systematization, comparison and generalization was used in this paper. Scientific novelty of the study is determined by its absolutely new, although at the same time very relevant issues (the study of the specified problem in the specified aspect has never been conducted, although it is of great importance for the study of management and marketing in the field of culture and art). Conclusions. The incredibly fast and successful promotion of the collective’s brand is the result of a number of sys- tematic, planned actions of the management of the Lviv Organ Hall and the creative team. Among these are radical personnel decisions (selection of a young charismatic leader, renewal of the creative team, in particular the introduction to choir the girls); a significant increase in the creative activity of the collective through a constant presence on stage, in the media, and social networks; a significant renewal of the repertoire, including by performing popular pop songs of the last century in an updated arrangement and a new performing interpretation; modern appearance of the choristers (blouses and trousers, white-red, white-black color scheme, various clothing options, in order to emphasize the freedom and non-uniformity of everyone’s attire); free stage behavior not only of the choristers, but also of the conductor, who sings, conducts, and moves extremely actively on stage, actually performing very talentedly in a variety of roles; active use of theatricalization and improvisation during performances, emphasis on the individuality of each artist; emphasis on communication with the audience both online and at concerts, in particular, through the use of interactive techniques; active dissemination of information about the collective by all possible means – on the website of the Lviv Organ Hall, in the media, various social networks, including through active discussion (commenting) of events with the participation of “Gomon; development and mythologizing of the collective’s brand; quality of advertising – audio, video, visual, incl. through the participation of the collective in national campaigns and events, involving famous, status-based individuals in advertising, selling merchandise, etc.

THE IMAGE OF GRIMWALD IN THE OPERA “RODELINDA” BY H. F. HANDEL

2026-02-03T16:38:05+02:00

The article studies the operatic work of the outstanding German composer of the Baroque era, G. F. Handel, the author of more than 40 operas, the vast majority of which represent the opera-seria genre. The focus is on the opera «Rodelinda», written and staged in London in 1725, during the period of the first Royal Academy of Music (1720-1728). One of the fea- tures of this period, during which 14 operas were written, is the emancipation and growth of the importance of the tenor part, the transformation of tenors into opera thieves and the invitation to perform these parts of singers with a pronounced acting talent. It is in this vein that the part of Grimwald in the opera «Rodelinda» was created. This is the only part in the entire opera written for a tenor. The aim of the article is to determine the specifics of the interpretation of the image of Grimwald as the main thief of the opera performance, and to study the features of the vocal part written for a tenor. The research methodology is based on the principles of historicism, combined with practical-performance approaches to studying the material. The scientific novelty of the obtained results lies in determining the role of the tenor part in the operas of G. F. Handel, which represent the trends in the development of opera art of the Western European Baroque. Conclusions. According to the canons of the opera-seria genre, in the opera «Rodelinda», written in three acts, during which the plot unfolds, combining the struggle for power and love, there is a polarization of the forces of good and evil. If the idea of good is personified by the main characters of the opera (Rodelinda, Bertarid, etc.), whose parts are sung by male and female sopranos, the bearer of evil is Grimwald, whose vocal part is assigned to the tenor. This is the only tenor part in the performance. The nature of the thief finds direct manifestation in Grimwald's vocal part, where the virtuoso component prevails. The part is notated in the tenor clef and has a high tessitura. Tenors with pronounced acting talent are needed to perform this part.

32 DM. BORTNYANSKY'S CONCERT INTERPRETED BY K. PIGROV: SPIRITUAL, STYLE AND PERFORMANCE ASPECTS

2026-02-03T16:40:49+02:00

The article is devoted to analytical generalizations regarding the genre and style features of Dm. Bortnyansky's 32nd concert and their reproduction in the context of the spiritual and ethical guidelines of K. Pigrov's choral activities. The purpose of the work is to identify the features of the interpretation of the 32nd concert of Dm. Bortnyansky by K. Pigrov in the context of the spiritual guidelines of his choral school, formed at the intersection of the regent's and choirmaster's activities and their cult and liturgical primary sources. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic analysis, as well as on interdisciplinary and historical-culturological approaches, which allow us to reveal the spiritual, semantic and stylistic specificity of the choral heritage of Dm. Bortnyansky in the context of not only the individual authorial style of the composer, but also the evolutionary paths of the Ukrainian spiritual liturgical and singing tradition. The scientific novelty is determined by the fact that it presents for the first time analytical generalizations regarding the poetic and intonation specifics of Dm. Bortnyansky's 32nd concert and the features of its interpretation in the context of the key "angelic" guidelines of K. Pigrov's choral activity. Conclusions. Dm. Bortniansky is one of the most prominent figures of Ukrainian culture and music of the turn of the 18th – 19th centuries, whose work was formed at the intersection of national traditions of spiritual choral singing and its religious guidelines, which genetically went back to Byzantine sources, and the creative assimilation of Western European musical and historical experience. At the same time, this kind of synthesis reveals, at the same time, the priority role for the composer of the biblical-patristic, patristic understanding of the essence of spiritual singing, the origin of which was associated with the phenomenon of angeloglass and its influence on the religious consciousness of man. The above is also correlated with the poetic and intonation specificity of the 32nd concert of D. Bortniansky, which is distinguished by its meditative and prayerful character, the dominance of slow tempos and muted dynamics, adjusted to the content of Psalm 38, focused on the eternal questions of life and death. The above-mentioned features of the spiritual “reading” of this concerto by D. Bortniansky also form the basis of its performance version under the direction of K. Pigrov, the founder of the Odessa Choral School, formed against the background of his regent-conductor activity. His interpretation of this work, which demonstrated painstaking work on the purity of intonation, ensemble, comprehension of the spiritual essence of the biblical text and its corresponding pronunciation, as well as the principled avoidance of any musical and theatrical effects, all of this somehow demonstrated not only respect for the author’s composer’s text, but also veneration of the Ukrainian national spiritual and singing tradition and its sacred guidelines.

NET ART PRACTICES THROUGH THE PRISM OF POSTMODERNIST CONCEPTS

2026-02-04T08:53:54+02:00

The article examines the artistic phenomenon of net art as an important part of postmodernist culture, which continues and transforms its basic concepts, taking into account the modern digitalized world. The manifestations of net art are correlated with the main ideas of prominent representatives of postmodernist philosophy (J. Baudrillard, J.-F. Lyotard, J. Derrida, J. Deleuze, and F. Guattari). By analyzing net art works, it was found that they contain characteristics typical of postmodernism, such as multi-genre and interdisciplinarity, lack of hierarchy, equivalent multivariability, simulacracy, deconstruction, citation and hypertext. It was established that net art works are characterized by ironic and game forms, and openness to experiments. The purpose of the work is to understand net art in the context of the postmodern paradigm, to determine its aesthetic qualities and functions. Methodology. The methodological component of the study is at the intersection of cultural, art historical and philosophical approaches. The art historical approach allows us to analyze the aesthetic features of net art works, the cultural approach introduces net art into a broader socio-cultural context, and the philosophical approach allows us to compare practical manifestations of net art with theoretical concepts of postmodernism. The article also uses comparative and hermeneutic methods that allow us to interpret net art works through the prism of postmodernist concepts. The scientific novelty of the results obtained lies in highlighting the forms and practices of net art through the prism of the main concepts of postmodernism, which are transformed under the influence of modern technologies, culture and socio-political context; determining its aesthetic value and functions; introducing a number of names and works into scientific circulation. Conclusions. Net art is an integral part of the current digital culture, since its main field of existence is the Internet. It has been established that net art also traces the manifestations of the artistic and philosophical direction of postmodernism, which became decisive for the development of modern art in the late 20th and early 21st centuries. The study revealed such characteristic features of postmodernism as: decentration and equivalence of narratives, tendencies towards rhizomaticity, simulacracy due to virtual reality, construction of nonlinear and non-hierarchical means of communication. The identified aspects fit net art into the paradigm of postmodernism. Network art, in turn, thanks to new technologies and forms, can enrich and more clearly embody or transform basic postmodern ideas.

THE INFLUENCE OF ASIAN CULTURAL SPACE ON POPULAR CULTURE IN THE 21ST CENTURY

2026-02-04T08:57:34+02:00

At the end of the 20th century, scholars noted the transformation of Asian cultural practices and their adaptation to Western models. However, the situation has changed significantly: we are now witnessing the active influence of Asian culture on global popular culture. The purpose of the article – consists of analysing the Asian cultural phenomenon in the global popular culture of the 21st century, demonstrating the extent of the influence of Asian cultural practices on the mass culture of Europe, America and other regions of the world. Research methodology. In our study, we used an interdisciplinary approach. The use of systematic and analytical research methods, as well as an axiological approach, allowed us to determine the influence of Asian culture on popular culture in the 21st century, which is most clearly manifested in the European cultural space in the context of globalisation. This methodological basis corresponds to the essence of the problem raised by the authors. The scientific novelty – consists in systematising and updating the global influence of Asian culture using the example of music, cinema and visual arts. Conclusions. The analysis shows a gradual transformation of the role of Asian countries in the global cultural pro- cess – from a position of imitation and peripheral participation to the status of independent creators of contemporary art. In the 21st century, Asia has established itself as a new centre of cultural influence, covering various fields – from music, cinema and visual arts to digital industries. Its growing role is due to a combination of technological development, active use of internet platforms, the formation of powerful national brands and increased cultural self-expression, which attracts young audiences around the world. Although Western culture retains its influence, it is no longer the sole defining centre, as the contemporary cultural space is becoming increasingly polycentric.

INTERNATIONAL EXHIBITION PRACTICES OF CONTEMPORARY UKRAINIAN ART: NEW FUNCTIONAL DIMENSIONS IN THE CASE OF THE EXHIBITION “UKRAINE. UNDER A DIFFERENT SKY”

2026-02-04T09:10:59+02:00

The cultural analysis of the exhibition of contemporary Ukrainian art Ukraine. Under a Different Sky (Warsaw, 2022– 2023) reveals a complex phenomenon of the archive of memory and the theme of decoloniality. The study aims to identify the phenomenon of exhibition practices in contemporary Ukrainian art that embody the functions of a memory archive, decolonial expression, and cultural interaction, as exemplified by the exhibition Ukraine. Under a Different Sky. The research demonstrates that the exhibition operates as a documentary project of visual art and as a form of international engagement with performative elements. It seeks to comprehend the collective memory of tragic events and to represent Ukraine’s independent cultural subjectivity within the global context of creative processes. The methodological foundation integrates established principles of systematism, historicism, universal interconnection, and objectivity; cultural, art historical, and historical approaches; general scientific methods such as analytical, phenomenological, and explanatory; and methods of observation, comparison, and modeling. These approaches define the specifics of postcolonial and decolonial studies as well as the concept of soft power in cultural relations. The study employs a qualitative case study and discourse analysis of curatorial texts, artistic statements, and critical reviews. A comparative analysis considers other exhibition projects in London, Berlin, and Kaunas, which collectively illustrate a network-based strategy of Ukraine’s international representation through art exhibition practices. The research novelty lies in interpreting the exhibition as a mechanism of decolonial affirmation through cultural interaction, which helps the international community comprehend the ongoing Russian–Ukrainian war and express solidarity with the Ukrainian nation. For the first time, the study demonstrates that the dynamics of displaying antiwar artworks–beyond their educational, ideological, aesthetic, and social-regulative roles–also activate communicative, psychotherapeutic, suggestive, informational, modeling, and prognostic functions, while evoking catharsis and fascination. This dynamic reveals the interplay between the traumatic experience of war and active cultural and creative self-expression. The study concludes that the analyzed international exhibition Ukraine. Under a Different Sky, by Ukrainian artists, emerged not only as an artistic event but also as a representative form of cultural self-expression of the nation–a call from Ukraine to the global community to stop the Russian terrorist state. Through artistic means, each work in the exhibition contributes to forming a shared narrative about the Ukrainian people’s national liberation war against the occupier while simultaneously serving as a testimony to this struggle.

MEMORY IN THE STRUCTURE OF THE MODERN CULTURAL THESAURUS: PHILOSOPHICAL AND ARTISTIC ANALYSIS

2026-02-04T09:14:19+02:00

The purpose of the article is to conduct a philosophical and art-historical analysis of the phenomenon of memory in the structure of the contemporary cultural thesaurus in order to identify its conceptual, axiological, and communicative functions in the processes of forming cultural identity and transmitting the meanings of artistic experience. Methodology. The methodological basis of the study is a comprehensive interdisciplinary approach that combines philosophical, cultural and art analysis. A systematic approach was used to study memory as an integrative category that forms the structure of the cultural thesaurus and ensures the inheritance and transmission of values. The hermeneutic method allowed us to interpret the phenomenon of memory as a semantic category of cultural experience. The phenomenological approach contributed to the understanding of memory as a way of revealing the internal structure of artistic and cultural existence. The structural-semiotic method allowed us to analyse memory as an element of the cultural thesaurus that provides a link between the symbolic forms of culture and art. A comparative-analytical method was used to identify the common and distinctive features of the interpretation of memory in philosophy, cultural studies and contemporary art history. The methodological strategy of the study is aimed at identifying the relationship between memory, cultural identity and artistic creativity, as well as analysing the ways of representing collective memory in contemporary artistic discourse. The scientific novelty lies in a comprehensive philosophical and art-historical understanding of the phenomenon of memory as a system-forming element of the contemporary cultural thesaurus. For the first time, the concept of memory as an integrative category that combines individual, collective and cultural levels of experience in a single thesaurus structure is substantiated, the function of memory as a mechanism of meaning creation in contemporary art and culture is revealed, and the interconnection between memory and cultural identity as a factor of stability and dynamics of cultural development, and an interpretation of the cultural thesaurus as an open system in which memory acts as a means of communication between the past and the present in an artistic and figurative dimension is proposed. Conclusions. Memory in the structure of the modern cultural thesaurus is both a philosophical category and a dynamic system of cultural self-reflection, which ensures the continuity of traditions, shapes identity and creates conditions for creative rethinking of the past. The cultural thesaurus is seen as an open system, within which memory acts as a structural centre, able to ensure communication between generations, eras and cultural contexts. It has been determined that contemporary art represents memory not only as a thematic or figurative motif, but as an instrument for reconstructing historical experience, a means of overcoming cultural amnesia and restoring the semantic integrity of cultural space. The results of the study confirm that the analysis of memory in the thesaurus structure of culture opens up new perspectives for the development of interdisciplinary studies in the field of philosophy, aesthetics and art history, contributing to a deeper understanding of the mechanisms of preserving cultural identity in the context of globalisation processes.

THE TRIUNE NOTE OF THE HEART: TRIISTRA’S PATH INTO THE UKRAINIAN SOUND WORLD

2026-02-04T09:25:22+02:00

Purpose of the study. The research aims to provide a theoretical and cultural justification for replacing the existing term «balalaika» with a new designation that reflects the Ukrainian musical mentality and serves as the name of a three- string plucked instrument – the Triistra. This new term is proposed as an artistic, aesthetic, and psychoacoustic alternative to instruments of Eastern origin that carry entrenched semantic connotations, which are unacceptable in contemporary Ukraine. The study seeks to determine the place of the Triistra within the Ukrainian sonic space, to trace the historical, cultural, and mental prerequisites for its emergence, and to reveal the tremulous and lyrical nature of its sound, which corresponds to the Ukrainian intonational tradition. Methodology. The work applies an interdisciplinary approach combining musicological and ethnomusicological analysis, studies in musical perception psychology and cultural semiotics, comparative examination of plucked instruments, timbral-intonational analysis, and correlation of plucking frequencies with human psychophysiological rhythms. Hermeneutic methods and the emotional-intonational theory of music are employed. Scientific novelty. For the first time, a comprehensive concept of “Triystra” is proposed as a Ukrainian form of the three-string tradition, integrating the symbolism of triad, the archetype of “troista muzyka,” lyrical intimacy, and psychoacoustic features of soft tremor. The instrument is presented as a medium of cultural identity capable of replacing imperial semantics and establishing a new aesthetic standard. Conclusions. “Triystra” emerges as a natural continuation of the Ukrainian intonational worldview, characterized by softness, inner pulsation, subtle vibrancy and chamber expression. It enables the formation of a contemporary Ukrainian plucked-instrument tradition rooted in national sensitivity and lyrical sound aesthetics. The study outlines prospects for its educational, performance and creative application.

APPROACHES TO THE CLASSIFICATION OF INTANGIBLE CULTURAL HERITAGE IN UKRAINE

2026-02-04T09:27:55+02:00

Purpose. The purpose of the article is to provide a comprehensive analysis and systematization of the main approaches to the classification of intangible cultural heritage (ICH) in Ukraine, to identify their semantic, spatial, functional, and social dimensions, as well as to outline the possibilities of applying classification models in the field of heritage preservation and management. Methodology. The research applies general scientific methods such as analysis, synthesis, comparison, systemic and process approaches, along with specific methods of classification, interpretation, and generalization. The source base includes academic studies, methodological recommendations, and regulatory documents in the field of ICH protection. The structure of the study follows the logic of differentiating individual approaches: thematic, geographical, cultural- economic, historical-genetic, institutional-organizational, ethnographic, functional, and social. Scientific novelty. The study proposes an updated typology of approaches to the classification of ICH that reflects the current state of Ukrainian humanities and aligns with the principles of the 2003 UNESCO Convention. The novelty lies in integrating content-analytical, spatial-regional, and socio-functional criteria within a unified classification model. The paper reveals mechanisms of interaction among heritage protection actors (state, academic, and community) and demonstrates the role of ICH as a factor of cultural identity, communication, and social cohesion. Conclusions. The classification of intangible cultural heritage is a multi-level process requiring the integration of diverse approaches. The thematic, geographical, and institutional-organizational approaches ensure structural and managerial dimensions of the heritage system, whereas the historical-genetic, ethnographic, functional, and social approaches uncover the semantic and identity-forming potential of cultural practices. The comprehensive application of these approaches establishes a methodological foundation for further research and for developing digital classification models integrated into the national policy of ICH preservation.

STRUCTURAL AND EXPRESSIVE POTENTIAL OF COMIC ONOMATOPOEIA IN THE CONTEXT OF MUSICAL ART

2026-02-04T09:30:41+02:00

The article explores the interaction of the arts of comics and music with a focus on the potential of using comic ono- matopoeia in musical works. The aim of the work is to reveal the features of the transformations that occur in musical composition under the influence of onomatopoeia and some other characteristic elements of comics. Research method- ology. The work uses such approaches and methods as historical, culturological, descriptive, analytical, comparative, structural-functional. Conclusions. The research demonstrates that the structural and stylistic elements of comics can be an interesting tool for creating music and give it a new expression and sound. Onomatopoeias are stripped of their origi- nal comic context and are reinterpreted in vocal and instrumental works. This penetration of onomatopoeia is analyzed on the example of the iconic work for solo voice Stripsody by the American composer Cathy Berberian, in which the prin- ciples of sound formation and vocalization of comic effects are originally conceptualized and creatively developed. The study reveals that this is the first musical «comic» of its kind that explores the artistic expressiveness and musical possibili- ties of onomatopoeia. The research finds that the transformation under the influence of comics manifests itself in Stripsody at different levels, such as in changing the structure, means of expression, the roles of the performer and the listener, as well as in the formation of a specific scheme of interpretation of the work. The article also considers other compositions that contain comic onomatopoeia, namely Manga Scroll and To Be Continued by Christian Marclay, and Comic Strip by Serge Gainsbourg. The scientific novelty of the article lies in the creation of a Ukrainian scientific study on the intersection of comics and music and in analyzing a musical work from the perspective of comics studies. The practical significance of the work is related to the possibility of further use of the presented materials in musicology and to the prospect of laying the foundations for the formation of Ukrainian comics studies.

PINA BAUSCH’S CHOREOGRAPHIC ART AS A PRACTICE OF THE CULTURE OF INTERACTION

2026-02-04T09:35:39+02:00

The aim of this work was to investigate the relational and participatory practices within Pina Bausch’s choreographic art and to determine the role of her work in the comprehension of collective traumas in post-war Germany within the artistic culture of the second half of the 20th century. The research methodology combined historical-contextual analysis with a culturological approach that focused on the social commitment of P. Bausch’s choreographic art. The examination of the artist’s aesthetic principles through the lens of interaction culture was ensured by employing cultural-historical, art-historical, and analytical methods. Simultaneously, the biographical method was used to highlight the influence of personal experience on the formation of the artist’s worldview, which was reflected in her criticism of «philistinism» and the cognitive problem of «barrierism» between the individual and the social. The scientific novelty of the research lies in the conceptual reinterpretation of P. Bausch’s choreographic art through the combination of contemporary culturological perspectives, which allows for the uncovering of new semantic layers within her oeuvre. A key element is the direct application of the theories of N. Bourriaud and C. Bishop to the artist’s choreographic practices, which places P. Bausch’s work within the domain of the «artistic social project» and the culture of interaction. The analytical consideration of P. Bausch’s aesthetic principles from the critical standpoint of «philistinism» traces the genesis of this problem from German Romanticism to the 20th century, enriching the critique of the «consumer society» of post-war Germany with a cultural-historical and politico-social dimension. The complex biographical- contextual analysis clearly defines how the artist’s personal experience transforms the Expressionist heritage into a new, socio-political dance focused on the «de-commodification» of feminine corporeality and the comprehension of collective traumas. Conclusions: Following the tradition of German Expressionist choreography (R. von Laban, K. Jooss), Pina Bausch executed a radical transformation of this movement, integrating socio-political analysis into choreographic art, focused on the comprehension of collective traumas. The artist actively employed relational and participatory approaches with the goal of reorienting the viewer from the passive role of observer to a state of co-participation and immediate presence («here and now»), which corresponded to the concept of the «situation of Art» (according to N. Bourriaud). This modification was achieved through the use of non-trivial sound design (popular songs, radio music) and the creation of stage spaces that imitated everyday life (cafés, restaurants). The introduction of these practices of the mundane contributed to the dismantling of the barrier between the ideal and the quotidian; thereby activating the audience’s shared memory. Thus, the stage space functioned as an opportunity for open, cathartic interaction. This elevated P. Bausch’s oeuvre to the level of an «artistic social project», where the emotional perception of the public became an integral element of the work’s structure.

NATIONAL COMMUNITIES OF ZHYTOMYR POLISSIA: A HISTORICAL AND CULTUROLOGICAL REVIEW OF INTERETHNIC INTERACTION IN THE CONTEXT OF THE ECOSYSTEM APPROACH

2026-02-04T09:40:28+02:00

The purpose of the article is to conduct a historical and cultural review of interethnic interactions of national communities of the Zhytomyr region in the light of an ecosystem approach, which allows us to understand culture as a dynamic system of interdependent elements. Research results: this article examines the multicultural environment of Zhytomyr Polissia through the lens of an ecosystem approach to the analysis of traditional culture. Particular attention is paid to the forms of interethnic interaction, exemplified by the titular ethnos–Ukrainians–and the ethnic communities of Belarusians, Poles, Czechs, Roma, Jews, and Germans. The scientific novelty of the study lies in the implementation of a comprehensive historical and cultural analysis of interethnic interaction in Zhytomyr Polissya through the prism of an ecosystem approach, which allows us to consider national communities as interconnected elements of a single cultural space. The work systematizes for the first time the manifestations of ethnocultural interaction (linguistic, musical, ritual, everyday) in the context of preserving regional identity and cultural sustainability of the Polissya environment. The author proposes interpreting these processes as elements of sustainable cultural coexistence and mutual enrichment within a multiethnic ecosystem. Conclusions. Zhytomyr Polissia is a unique region where national communities not only coexisted but also created a shared, polyphonic, flexible, and resilient multicultural ecosystem. Interethnic interaction was not an exception but rather a natural state of the regional culture, in which both diversity and mutual respect were maintained. The interethnic interaction among the national communities of Zhytomyr Polissia serves as an example of how culture can function as an interdependent and adaptive ecosystem. Preserving this ecosystem is a task for contemporary humanitarian policy, education, and cultural development, where it is important to perceive tradition not as a museum piece, but as a living organism that requires support, attentive listening, and renewal.

MORALAND VALUE BASES OF RELIGIOUS ETHICS AS A FACTOR OF SPIRITUAL SELF-DETERMINATION OF A PERSONALITY: PHILOSOPHICAL AND CULTURALANALYSIS

2026-02-04T09:45:19+02:00

The question of the knowledge of good and evil arises before every person throughout their life. Throughout its existence, humanity has tried to answer these 'eternal' problems. However, by asking these questions, we are already immersing ourselves in the realm of ethics, the realm of reflections on human morality. Since it is impossible to simply brush aside these and similar bitter and painful questions, life itself constantly leads us back to them. This prompts us to a series of other reflections: can there really be any final, universally significant answers to them, or is everyone simply following their own path and choosing what is closer to them? Thus, the sharper the problems that arise before us, the more uncertain the prospects for the future, the more inevitable the modern person's desire to find solid ground beneath their feet becomes–something worth living for, something that could serve as a kind of guide for their troubled soul, a measure of their actions. Consciously or unconsciously, a person repeatedly turns to important questions of morality, questions of choosing moral values, because we cannot reject them altogether. An important and significant aspect today is the cultural-ethical position of everyone, connected with respect for reality, the awareness of the inviolability of moral values, the irreplaceability and seriousness of each person’s life calling, and the position of self-expression of a free person in the world, which relies on the ethical potential of culture and religion. Always, under any historical conditions, a person feels the need for higher, unchanging value orientations that would strengthen their spiritual strength, enrich their life with meaning, and define the active direction of their life. The aim of the article is to highlight the role of the individual in religious life, analyse the specifics of religious ethics as a sociocultural phenomenon, explore forms of self-determination of the individual and the community, and reveal the influence of religious culture and moral-value orientations on the process of the development, formation, and self- determination of the individual. Scientific novelty. Culture and religious ethics are studied as a philosophical and cultural problem. It is noted and justified that the starting postulate of both religious and moral consciousness is the individual human person. It is emphasized that both morality and religion belong to the world of values, in which not only reason but also feelings and faith, inclinations and attachments, and not dry bureaucratic concepts, but images, play a role. The nature of the interaction between religion and morality is considered, determined by their specifics and differences. In conclusion, it is noted that the place of morality, moral worldview, and attitude towards the world in the system of human culture remains unchanged. It is emphasized that the sphere of ethics encompasses the broadest circle of spiritual searches of a person, united by a common tone of freely limiting one's subjective potentials for the sake of higher life- meaning values. It is defined that ethics relies on the spiritual potential developed by philosophy, on its interpretation of the integral experience of humanity. It is stressed that a person’s moral attitude towards the world, towards reality in any of its forms, is oriented towards the ideal of Good.

FORMATION OF STUDENTS' WORLVIEW CULTURE IN THE PROCESS OF STUDYING INTEGRATED CULTURAL DISCIPLINES: METHODOLOGICAL METHODOLOGICAL ASPECTS

2026-02-04T09:47:56+02:00

The formation of a young person's worldview is one of the main tasks of modern education. It is the worldview culture that is of decisive importance, since it ensures the development of a holistic personality, capable of critical thinking, a conscious attitude towards the world around them and towards themselves based on universal and national values. The aim of the research is to develop and scientifically substantiate methodological and didactic approaches to the formation of worldview culture in higher education students through the acquisition of integrated cultural studies educational components. The research methodology is based on didactic principles regarding the systematic study of academic disciplines as a necessary condition for a holistic process of knowledge acquisition. The study also relies on philosophical concepts of worldview culture. The main research methods included theoretical ones (analysis and comparative study of philosophical, sociological, cultural, psychological, and pedagogical scholarly literature on the research topic; comparative analysis of educational and methodological documentation, theoretical and empirical sources; analytical- synthetic processing of research results in conjunction with the principles of the historical approach; generalization method, etc.) and empirical ones (interviews, surveys, observation). Scientific novelty lies in the fact that for the first time, conceptual, methodological, and didactic approaches to defining the essence, content, and key directions of teaching cultural studies disciplines have become the subject of a comprehensive scholarly investigation. Based on an analysis of integrative, humanistic, and cultural factors influencing the worldview culture of youth in the learning process, and generalization of relevant pedagogical experience, recommendations have been developed regarding teaching methods for cultural studies educational components. Conclusions. An important means of forming a scientific worldview and worldview culture in students is the implementation of integrated cultural studies educational components, which contribute to the development of a holistic understanding of the human being, their place and role in society, the natural environment, and the virtual dimension of modern media culture. It is substantiated that integrated cultural studies educational components are essential for building a renewed system of national education in Ukraine. The integration of the content of cultural studies education is part of broader social and pedagogical challenges, such as the humanization and universalization of education, the formation of cultural identity, patriotism, active citizenship, critical thinking, and resilience in the face of tragic challenges and uncertainty.

FORMATION OF A GRAPHIC ARTISTIC IMAGE IN DRAWING CLASSES DURING SUMMER PLENARY PRACTICE

2026-02-03T16:43:43+02:00

Teaching drawing is inextricably linked with the development of students' skills and abilities to truthfully depict visible forms on a plane in a real environment. The specificity of realistic drawing is that real reality is taken as the basis of creativity, and the transfer of the artist's thoughts and feelings is carried out in a figurative form through the depiction of specific objects. The purpose of the article is to analyze the means and methodological foundations of the formation of an artistic graphic image during drawing classes during summer plein air practice. The research methodology is complex. It includes both general scientific methods – analysis, synthesis, interdisciplinary methods – comparison, systematization, and special methods – natural sketches, data collection method, photo fixation. In particular, the analysis method was used when considering theoretical principles, examples from pedagogical practice, statements of masters of fine arts; synthesis – in order to generalize each educational task and form methodological recommendations; comparison – to determine features in pictorial-stylistic and technical-technological research, systemic – when considering works of the landscape genre, drawings from nature, as a component of the artistic process; the data collection method allowed obtaining detailed information on the review, measurement, in-depth interviews with respondents regarding the idea, design and compositional decisions, photo fixation – in order to identify and verify works of the landscape genre. The scientific novelty of the results obtained lies in the identification of the means and methodological foundations of the formation of an artistic graphic image during drawing classes in the conditions of summer plein air practice, the acquisition by students of new professional skills through direct study and reflection on the pictorial plane of the environment – landscapes, architectural objects, images of people, production processes, etc. Conclusions. The article is devoted to the study of the means and methodological foundations of the formation of an artistic graphic image during drawing classes in the conditions of summer plein air practice. The emphasis is on the importance of sketches, short-term drawings as means of forming an artistic image and a set of linear-plastic elements of painting that determine the structure and spatial relationship of forms. Special attention is paid to the issues of professional art education and the role of drawing as a leading discipline in artistic practice on the example of teaching drawing at the Department of Fine Arts of the Lesya Ukrainka Volyn National University. In the proposed scientific research, the authors attempted to combine disparate, somewhat outdated methodological developments in drawing for summer plein air practice and build a new system of tasks and recommendations that would meet the requirements of modern academic education and include a demonstration of new artistic achievements based on materials from the department's collections, in particular student creative works and works by the teaching staff. The results obtained are relevant and important in the joint creative work of the teacher and the student when defining and completing drawing tasks during the summer plein air practice.

THE PLOT AND DECORATIVENESS OF THE BAROQUE AND THE “GOLDEN AGE” OF DUTCH ART

2026-02-03T16:46:55+02:00

The article establishes that by revealing aspects of the plot and decorativeness of the Baroque and the "Golden Age" of Dutch art, we analyze the ethnocultural space of the 17th century. The aim of the article is to analyze the subject matter and decorativeness of the Baroque and "Golden Age" of Dutch art. The research methodology is based on the basic principles of general scientific methods of analysis, synthesis, and generalization. The culturological approach makes it possible to interpret art as a cultural phenomenon. The axiological approach is based on the understanding of art as a cultural phenomenon that has a value status. Novelty of the work: the article analyzes for the first time the plot and decorativeness of art through the prism of the Baroque style and the "golden age" of Dutch painting. It is proven that the plot of Baroque is expressed in a complex of such characteristics as dynamism, emotionality, complex form of communication, allegory, contrast, emblematicity. It is stated that the works of fine art of the 17th century use the contrast of light and shadow in painting and dynamic poses and gestures in sculpture. Conclusions: Baroque works of art are characterized by lush decoration, decorativeness, complex and systematic composition, and a luxurious combination of colors and chiaroscuro. Baroque uses many symbols and allegories, adding depth and ambiguity to the plot; Baroque plots are mostly complex, built on contrasts: good – evil; earthly – heavenly. In Dutch art of the "Golden Age", such genres as still life, portraits, landscapes, and home interiors developed, while traditional spiritual, biblical, and historical subjects became secondary. For the first time, luxury items, flowers, food, and dishes became objects of reproduction in art; many panoramas of the countryside were created.

TEACHING EASY COMPOSITION: METHOD, TOOLS, SKILLS NECESSARY FOR WRITING A THEMATIC PAINTING

2026-02-03T16:50:12+02:00

The author explores the laws of composition in fine arts when creating a subject-thematic painting, necessary for students of art universities; means of composition, rules, techniques. The author analyzes the requirements for creating and writing an artistic, subject-thematic painting: the use of formal means (contrast-nuance, statics-dynamics, meter-rhythm, symmetry-asymmetry, chiaroscuro). The article considers how, using the acquired knowledge, to achieve unity of content and form in an easel composition, in order to then solve professional problems in further creative activity. The author proves that the combination of individual experience, professional knowledge and a creative approach will allow future artists to achieve significant artistic results. Understanding the basic laws of composition, the methodology of their use, young artists will successfully cope with creative tasks when writing an easel painting. The purpose of the article is to analyze the elements of composition, means, and techniques necessary when writing a plot-thematic painting by students of art universities. The scientific novelty of this article lies in the synthetic analysis of the main elements of composition, techniques and means for creating high-quality pictorial works of art by young artists. The practical use of the acquired knowledge in the field of easel composition will allow students to successfully apply techniques, methods, and skills in educational and creative work. The ability of students to take into account the peculiarities of national traditions will allow them to be successful in the modern art market and create bright works of art that will enrich the culture of Ukraine.

TEACHING DRAWING TO DESIGNERS IN HIGHER EDUCATION: METHODOLOGICAL ASPECTS

2026-02-03T16:52:41+02:00

The article raises the issue of changing the paradigm of teaching academic disciplines in higher design education against the backdrop of digitalization, algorithmization of knowledge, and declining interest in classical academic training. It is becoming increasingly relevant to draw on teaching and artistic experience in order to understand contemporary trends in the visualization of images on a plane. The purpose of the study is to justify the importance of academic drawing in the educational process and to adapt the teaching process to the new requirements of the modern world. The research methodology includes a comprehensive approach that combines an analysis of the research discourse of visual culture, a comparative analysis of contemporary educational programs, and empirical observation of the educational process in art and design specialties. An analytical method was also used to identify changes in approaches to drawing and image visualization in the context of digitalization. The method of generalizing pedagogical experience was used to formulate practical recommendations for preserving academic principles in modern design education. The scientific novelty lies in the actualization of the creation of a new method of teaching drawing for designers, which requires a balance between academic tradition and the latest approaches and means of creating images. Drawing is considered as a language of artistic thinking that requires adaptation to new conditions. Research results. It is argued that maintaining the logic of sequential task complexity, combining practice with an analytical approach, and forming a conscious understanding of form are factors that can ensure the quality of training specialists in the field of design in times of radical changes in technological and cultural paradigms. The importance of academic disciplines as the foundation for the formation of professional competencies of a designer, regardless of the digital level of the environment, is proven. The need to preserve tradition as a means of forming visual thinking, artistic taste, the ability to visually analyze and generalize is substantiated. An empirical approach is proposed as a means of concretizing creative principles related to the logic of image construction. At the same time, the problem of the lag in design education behind digital demand is taken into account.

ACADEMIC DRAWING IN THE DIGITAL AGE: CONTEXTUAL PRACTICES AND EDUCATIONAL STRATEGIES

2026-02-04T08:03:00+02:00

The article examines the transformation of academic drawing in the context of digital changes affecting the system of higher art education. The purpose of the article is to identify new methodological guidelines for teaching academic drawing in the digital age and to reveal its significance in the light of contemporary social changes and the needs of art education. The research methodology is comprehensive and combines a theoretical and analytical method to understand the evolution of academic drawing and its role in the modern educational process; a comparative-analytical approach to identify differences between traditional and digital formats of art education; contextual and cultural analysis to study the impact of technological and socio-cultural changes on artistic thinking; pedagogical modelling to develop guidelines for the integration of academic drawing into contemporary educational practices. The research is based on an interdisciplinary approach that combines empirical observation, pedagogical reflection, and analysis of visual culture as a factor in the professional identity of an artist. The novelty of the research lies in an attempt to integrate traditional academic approaches with current digital visualisation formats and contemporary contextual practices, while preserving the basic principles of artistic thinking. The authors emphasise the need to review the methodological foundations of teaching drawing, taking into account the dynamics of technological development, labour market transformations, and changes in the culture of perception of modern humans. Research results. An attempt was made to conceptualise drawing as a dynamic, living practice capable of evolving alongside cultural and technological transformations while retaining its conceptual and educational value. The importance of academic drawing as a contextual practice was substantiated – not only as a technical skill, but also as a tool for developing compositional thinking. A contradiction has been identified between traditional academic training and the needs of the digital environment, particularly in terms of algorithmic creativity. Pedagogical guidelines have been proposed that aim to integrate academic drawing into new educational formats through contextual practices that combine classical principles with modern technological approaches. This contributes to the formation of professional autonomy and critical thinking of future specialists in the field of artistic culture in a dynamic digital environment.

MENTORS AND TEACHERS OF SERHII NECHYPORENKO: ARTISTIC INFLUENCES AND THE PROFESSIONAL ENVIRONMENT OF THE ARTIST’S FORMATION

2026-02-04T08:38:34+02:00

Purpose of the Study. This article aims to provide a comprehensive examination of the educational and professional environment of Serhiy Hryhorovych Nechyporenko (1922–2014) – Honored Art Worker of Ukraine (1992), People’s Artist of Ukraine (1996), recipient of the Order of Merit, 3rd Class (2001), and long-time professor at the Kyiv State Institute of Decorative and Applied Arts and Design named after M. Boychuk. The study seeks to identify the factors that shaped his creative personality and professional worldview. The research focuses on the role of the artistic environment, pedagogical traditions, and individual mentors in the development of the artist, as well as on how these influences shaped his distinctive style, artistic approach, and professional orientation. Special attention is given to the activities of the teachers at the Krolevets Technical School and the members of the art competition committees of Ukrkhudprom, who played a significant role in fostering his creative potential. A key objective of the study is to shed light on lesser-known or previously unexplored aspects of Serhiy Nechyporenko’s life and career. For over sixty years, he devoted himself to his craft, championing the preservation and development of traditional weaving techniques, their stylistics, and ornamentation. He emerged as a specialist in folk artistic weaving, a practicing artist, a technician, a collector of Ukrainian decorative textiles, a connoisseur of folk traditions and art, and an educator. Overall, the study aims to reconstruct the process of Serhiy Nechyporenko’s formation as an artist within the broader context of Ukraine’s educational and cultural landscape during the second half of the 20th century. Methodology. The study employs historical-biographical and art-historical approaches, enabling a detailed analysis of Serhiy Nechyporenko’s educational path, the work of his teachers, and the role of artistic institutions – particularly the Krolevets Technical School and the art competition committees of Ukrkhudprom – in shaping his artistic development. Scientific novelty of the research. The scientific novelty of this study lies in its comprehensive examination of how the educational environment and key mentors influenced Serhiy Nechyporenko’s professional formation. For the first time, the contributions of figures such as Borys Zhuk, Serhiy Kolos, Anton Sereda, Yevheniia Dmytriieva, Mykyta Popenko, and Dmytro Holovko to the development of the future People’s Artist of Ukraine are systematically analyzed and highlighted. Conclusions. The study demonstrates that Serhiy Nechyporenko’s creative development was closely intertwined with his educational and professional environment. Teachers and mentors played a decisive role, not only imparting technical skills but also fostering the growth of his individual style, professional outlook, and understanding of the artist’s societal role.

PRINCIPLES OF FORMATION IN CONTEMPORARY DESIGN: BETWEEN FUNCTIONALITY AND AESTHETICS

2026-02-04T08:41:29+02:00

Purpose. The purpose of this article is to provide a theoretical understanding of the principles of form-formation in contemporary design, taking into account the evolution of ideas about form, its functional purpose, and aesthetic expressiveness within the context of contemporary culture and technological development. The study aims to identify the patterns of integrating utilitarian, constructive, and artistic aspects in the creation of design objects, as well as to determine the role of balancing functionality and aesthetics as the foundation for harmonious form-formation. Particular attention is given to the analysis of methodological principles that ensure a holistic approach to form design in both educational and professional design environments. Methodology. The study is based on a comprehensive approach that combines systemic, historical-typological, structural-functional, and aesthetic-analytical methods, allowing the identification of patterns in form-formation in contemporary design. The work employs a comparative-analytical method to trace the evolution of ideas about form within the context of changing artistic and technological paradigms; morphological analysis to examine the structure and compositional principles of design objects; and a semiotic approach to interpret form as a carrier of meaning within the cultural space. Additionally, an art-analytical method is applied to determine the aesthetic aspects of form-formation, and design methodology based on design thinking is used to analyze the functional appropriateness of forms. The methodological foundation of the study integrates theoretical principles from aesthetics, design theory, composition, and cultural studies, ensuring an interdisciplinary character of the research and allowing form-formation to be considered not only as an artistic phenomenon but also as a cultural, semantic, and technological process. Scientific novelty. The scientific novelty of the study lies in a comprehensive understanding of the principles of form- formation in contemporary design as the interaction of functional, constructive, and aesthetic aspects. For the first time, the article proposes a systematic classification of modern principles of form-formation, taking into account the evolution of design approaches–from the classical idea that “form follows function” to contemporary multimedia and parametric practices. Particular attention is given to the balance between functionality and aesthetics, which allows identifying key patterns in harmonizing utilitarian and artistic elements in the creation of design objects. The study is distinguished by an interdisciplinary approach: the integration of methods from art studies, composition, semiotics, and design methodology enables the assessment of form not only as a constructive object but also as a cultural and semantic phenomenon. Moreover, the methodological aspect of applying form-formation principles in design education is highlighted, particularly the role of sketching, model-making, and foundational form-formation in developing professional design thinking. Thus, the study not only clarifies contemporary principles of form-formation but also provides a scientific and methodological basis for their application in professional and educational design practice. Conclusions. As a result of the study, it has been established that contemporary form-formation in design is a multidimensional process that combines functional, constructive, and aesthetic aspects. The evolution of ideas about form has been analyzed, from the classical principles of “form follows function” to contemporary parametric and multimedia practices, which allows identifying patterns for harmonizing utilitarian and artistic elements in the creation of design objects. It has been found that effective form-formation requires an interdisciplinary approach, integrating methods from art studies, composition, semiotics, and design methodology, which enables the evaluation of form as a constructive, cultural, and semantic phenomenon. In addition, the importance of sketching, model-making, and educational disciplines that develop design thinking is emphasized for implementing the principles of contemporary form-formation in professional and educational practice. Thus, the study confirms the necessity of a comprehensive approach to form-formation that combines functionality and aesthetics and provides scientific and methodological guidelines for applying these principles in design and education.

BETWEEN TRADITION AND INNOVATION: THE SYNTHESIS OF DRAWING, PAINTING, AND DIGITAL TECHNOLOGIES IN THE FORMATION OF ARCHITECTURAL THINKING

2026-02-04T08:45:59+02:00

The theme of synthesizing drawing, painting, and digital technologies in shaping architectural thinking reveals the deep transformation processes taking place in contemporary art and design education. The changes occurring in architectural training reflect a desire to connect the traditional visual experience with new media that alter the perception of space and composition. Drawing and painting, which have long formed the foundation of the academic school, acquire new significance in the digital age – not as obsolete components of education, but as sources of visual logic, analytical thinking, and aesthetic harmony essential for architects. Architectural thinking is developed through observation, analysis of form, understanding of proportions, rhythm, and color relationships. Traditional drawing fosters awareness of structure, balance, and spatial logic, while painting refines the sensitivity to color, light, and materiality. Digital technologies, in turn, open new tools for spatial experimentation: 3D modeling, VR/AR visualization, and digital painting enable the creation of complex virtual compositions and interactive environments that merge analytical precision with artistic expression. This interaction between analog and digital modes of thinking becomes the foundation of a new pedagogical paradigm in architectural education. The preservation of the traditional art school does not contradict technological renewal but rather forms a strong basis for its development. Professional architectural training depends not only on mastering digital software but primarily on cultivating a deep understanding of form, color, and spatial relationships – qualities that can only arise from direct artistic practice. Creativity that combines hand-drawn graphics with digital interpretation fosters holistic thinking – flexible, analytical, and adaptive to new conditions of design. A modern architect must think not only constructively but also visually. Their task is to transform ideas into form, merging the sensitivity to material with an awareness of technological processes. For this reason, artistic disciplines remain a central component of architectural education, while digital tools become a natural extension of traditional practice. The interaction of these domains forms a new culture of architectural creativity, where innovation is rooted in tradition, and technical mastery coexists with artistic intuition. The synthesis of drawing, painting, and digital technologies opens perspectives for understanding space as a harmonious unity of aesthetic and constructive elements. This approach transforms not only the educational process but also the very nature of architectural thinking, shaping a new type of professional – an artist, an analyst, and a researcher at the same time.

BETWEEN THE SACRED AND THE PROFANE: RELIGIOUS THEMES OF STREET ART IN POLAND

2026-02-04T08:49:16+02:00

The purpose of the article is to explore the religious themes of street art in Poland and artistic-imaginative visualization of the religious identity of its representatives. Methodology. In the process of collecting, systematizing and acquiring the research sources, complex, structural, inductive and synergistic methods were used, which became complementary in the realization of the author's idea. At the same time, the research methodology is based on visual expertise of a number of street art works in Poland, analytical and art history methods, as well as a systematic approach. The scientific novelty of the article consists in the fact that it is one of the first attempts in domestic art history outlining the religious issues of street art in Poland, studying its content and artistic tools in understanding and interpreting current problems of society. Conclusions. The religious themes of Polish street art are quite diverse; they contain images of Jesus Christ, the Virgin Mary, saints, angels, famous figures of the Church, sacred symbolism, outstanding monuments of church architecture and fine arts, which are close in form and content to sacred prototypes. Their authors clearly identify themselves with the Roman Catholic religion and the Roman Catholic Church. These street art compositions represent not only the worldview of a narrow circle of writers,but also the wider public – a part of citizens, who are their “audience”. However, in the public space of Polish cities there are also such murals, graffiti, posters on billboards, which have a distinctly secular, anti-religious, or anti-clerical content. Almost tabooed problems in Polish society are raised, such as, for example, manifestations of anti-Semitism and xenophobia, as well as the crisis situation of the Church. The controversiality of religious issue in Polish street art is the evidence of pluralism, one of the leading features of postmodern culture.