Fine Art and Culture Studies

INTERACTIVE FORMATS OF THE 21ST-CENTURY CHORAL EVENT: TYPOLOGY AND DIRECTING AUDIENCE ENGAGEMENT

Oleksandr VILA-BOTSMAN — 2025-12-31

The purpose of this study is to substantiate interactivity as a response to the transformation of listening practices in the twenty-first century and to propose a working typology of interactive formats of the choral event, positioning the conductor as a director and moderator of audience engagement. The methodology combines musicological analysis, cultural comparison, case studies, and a synthesis of contemporary performance and organizational practices; an interdisciplinary approach is employed to describe the interaction of sound, space, corporeality, media, and the participatory script. Scientific novelty lies in the systematization of five formats of the interactive choral event: the sing-along concert (collective empathic experience through shared singing), immersive spatial practices (immersive placement/movement of the choir and acoustic “envelopment” of the listener), modular improvisation (guided generation of material in real time), hybrid events (a combination of stage performance, media, and remote presence), and virtual choirs (networked co-creation and montage-based synchronization). For each type, the following requirements are identified: a clear artistic concept, a participatory script, ethical boundaries of intervention in performance, audience preparation, technological reliability, acoustic appropriateness, and sound-quality control. The study also examines the risk of substituting meaning with “effect” and proposes preventive mechanisms: the primacy of musical dramaturgy over attraction, transparent rules of interaction, calibrated interactivity, and reflective post-event communication. Success criteria are formulated as follows: the intensity and quality of audience participation, the preservation of professional performance standards, the semantic integrity of the event, the sustainability of the format (repeatability without loss of meaning), and sociocultural resonance. Conclusions: in choral art, interactivity is not an “additional effect” but an instrument for renewing communication, in which the conductor performs the functions of a curator of meanings, a facilitator of participation, and a guarantor of artistic quality.

DEVELOPMENT OF SOFT SKILLS IN THE PROCESS OF CHAMBER ENSEMBLE PERFORMANCE

Oleksii VOLYK — 2025-12-31

The article addresses the relevant issue of developing soft skills in the context of chamber ensemble performance. The aim of the study is to define the educational potential of ensemble music-making for the formation of soft skills and to systematize the key pedagogical conditions that enable their intentional development in art education. The methodology is based on an interdisciplinary analysis of psychological, pedagogical, and musicological sources, with the use of comparative methods, theoretical generalization, and conceptualization of skill development mechanisms within ensemble interaction. Special attention is given to rehearsal dynamics, non-verbal communication, distributed leadership, joint interpretive decision-making, and reflective practices. Scientific novelty. Chamber ensemble performance is interpreted not only as a form of interpretive training but as a model for developing soft skills. The author identifies six core groups of soft skills formed in this context: communication, emotional intelligence, teamwork, adaptability, flexible leadership, and reflectivity. A pedagogical framework is proposed to shift the development of these skills from an implicit process to an intentional educational objective. Conclusions. Chamber ensemble performance is recognized as an effective platform for cultivating soft skills in future musicians. Its structural features stimulate communicative engagement, responsibility, the ability to provide constructive feedback, and adaptation to change. Skill development occurs gradually – from establishing psychological safety to managing interpretive conflicts and achieving coordinated stage performance – fostering participants’ capacity for effective interaction, self-monitoring, and joint decision-making during performance.

HISTORICALLY INFORMED PERFORMANCE AS AN INTELLECTUAL TOOL FOR THE INTERPRETATION OF BAROQUE MUSIC (CASE STUDY OF HENRY ECCLES’S SONATA IN G MINOR)

Serhiy HAVRYLYUK — 2025-12-31

The article explores the problem of the performance interpretation of Baroque instrumental music through the lens of hermeneutic discourse and the methodology of Historically Informed Performance (HIP). The relevance of the topic is determined by the discontinuity of the performance tradition and the need to overcome the «romantic trail» in reading the Baroque text. The author views interpretation as a deep search for meanings («will to meaning» after V. Frankl) based on the philosophical ideas of H.-G. Gadamer and P. Ricoeur. Special attention is paid to the concept of musical rhetoric as a key unifying factor for understanding the composer’s intent of the 17th and 18th centuries. The work analyzes the specifics of Baroque instrumentation (viola da gamba, harpsichord, gut strings) and articulatory practices, which are essential for authentic sound. The aim of the study is to substantiate the interpretive resource of Historically Informed Performance in reconstructing the stylistic meaning of Baroque works. The comprehensive research methodology combines methods of comparative source studies, discourse analysis, textual reconstruction, and the historical-dialectical approach. The scientific novelty of the work lies in the detailed analysis, conducted for the first time in musicological practice, of the Sonata in G minor (Op. 1 No. 11) by the English composer Henry Eccles within the context of stylistic diffusion and the publishing realities of the Baroque era. The phenomenon of «Italian taste» in the composer’s work is highlighted, along with the problem of attributing his works, specifically borrowings from G. Valentini and F. Bonporti. In the practical sphere, a comparative analysis of modern performance versions of the sonata (W. Jang, M. Morton, L. Jacobson, T. Langlois de Swarte) was conducted, which allowed for the identification of the most convincing interpretive approaches meeting the modern requirements of Historically Informed Performance. It is concluded that only the combination of technological mastery of authentic techniques with profound knowledge of rhetoric and the theory of affects allows for the creation of an artistically valuable reading of music from past eras.

THE SECRET MEANINGS OF PAUL HINDEMITH’S VIOLA CONCERTO «DER SCHWANENDREHER»

Anton HORODETSKYI — 2025-12-31

The purpose of the study is to reveal the symbolic content of Paul Hindemith’s Concerto for viola and orchestra «Der Schwanendreher» for a deeper understanding of its musical language and hidden meanings. This opus is one of the most prominent viola works in the composer’s oeuvre. It is also one of the most performed viola concertos written in the XX-th century – an integral part of competitive, concert and, ultimately, educational repertoire. Methodology. To achieve this purpose there was applied a set of scientific methods. Among them there are historical and biographical, which is used to study the composer’s life and the circumstances of the creation and author’s performances of the Concerto. The method of structural and intonational analysis has become indispensable in the process of studying the score of the work. Content analysis was necessary to reveal the content of the opus, in particular, on the basis of the author’s program, present in its subtitle. The semiotic method allowed to reveal the hidden meanings of the composer’s text. The scientific novelty of the article lies in the fact that for the first time the mentioned work is presented as a holistic and complete musical message – a reflection of the epoch and the composer personal experience associated with this epoch. In the process of developing the research, it becomes obvious that Paul Hindemith’s Concerto for viola and orches- tra «Der Schwanendreher» is also consonant with our present. Conclusions. As a result of the research, it was established that Paul Hindemith’s Viola Concerto «Der Schwanendreher» became the artist’s personal reaction to the turbulent political events in Nazi Germany in 1935 and his peculiar musical message to his contemporaries and descendants. It is emphasized that this message reflects both Paul Hindemith’s difficult decision: to emigrate and, most importantly, his vision of his creative mission in life outside his homeland.

HISTORY AND METHODOLOGY OF VIOLIN PLAYING IN THE 18TH CENTURY IN LEOPOLD MOZART’S TREATISE BASED ON THE INTRODUCTION AND HISTORICAL SECTION OF THE WORK

Irina HREBNIEVA — 2025-12-31

The article is devoted to a comprehensive analysis of Leopold Mozart’s work “Fundamentals of Violin School” as a theoretical and methodological source of violin mastery in the 18th century. The work examines key issues and approaches to teaching violin playing, pedagogical strategies, and the author’s reflections on the development of musical performance. The theoretical foundations are examined and practical recommendations are formulated for the formation of performance technique, musical interpretation, and understanding of the specifics of musical instruments of that era. The purpose of this article is to review and analyze Leopold Mozart’s work “Fundamentals of Violin School” as an important source of the history of violin performance and pedagogy of the 18th century. Particular attention is paid to the analysis of methodological, historical, cultural, and worldview aspects, as well as to identifying its relevance for contemporary performance and pedagogical practice, particularly in the context of rethinking European traditions within Ukrainian music education. Methodology. The methodological basis of the study consists of historical-cultural and historical-musicological approaches, the method of textual analysis, as well as elements of comparative analysis. The work uses an analysis of the original source in Y. Grebnev’s Ukrainian translation, taking into account the context of 18th-century pedagogical traditions and the development of the European violin school. The method of generalization was used to systematize Leopold Mozart’s views on the origins of music, musical instruments, and the development of musical literacy. The academic novelty is evident in the actualization of L. Mozart’s treatise “Fundamentals of Violin School” as a self- sufficient theoretical and methodological source that goes beyond purely performance recommendations. Conclusions. Leopold Mozart’s work “Fundamentals of Violin School” demonstrates the breadth of the author’s worldview, his profound erudition, and his desire to systematize musical knowledge at the intersection of science, art, and pedagogy. His ideas about the origins of music and instruments also shape the perception of this work as a foundation for professional performance training. The results confirm the uniqueness of this theoretical legacy for contemporary violinists and teachers, outlining the prospects for further scientific and methodological foundations of European violin schools.

MODERN METHODS OF FORMING VOCAL AND CHORAL SKILLS AMONG STUDENTS OF HIGHER EDUCATION INSTITUTIONS

Ihor HRYSHCHENKO — 2025-12-31

The article explores modern methods of vocal and choral skill development among students within domestic higher education institutions. The aim of the article is to theoretically substantiate the importance of implementing modern innovative methods (scientific-technological, somatic, and digital) into the process of forming vocal and choral skills among students of higher education institutions to enhance the quality of their professional training and preserve their vocal health. Research methods are based on a systematic analysis of scientific works in the field of vocal physiology and choral pedagogy, the synthesis of traditional teaching methods with the latest technologies, and the study of the practical application of visual biofeedback tools, semi-occluded vocal tract (SOVT) methods, and digital platforms for remote collaboration. The scientific novelty of the study lies in a comprehensive approach to the formation of vocal and choral skills through the prism of «evidence-based pedagogy», which involves a transition from subjective-imaginative perception of sound to conscious control of the vocal apparatus based on acoustic and physiological data. The article systematizes modern methods (SOVT, Body Mapping, spectral analysis) and determines the role of artificial intelligence and digital transformation in the professional development of a modern choir conductor. Conclusions. It has been proven that the integration of classical choral traditions with modern scientific and technological approaches ensures rapid mastery of technical skills and contributes to the professional longevity of singers. The digitalization of learning (virtual simulators, sound analysis software) makes the training process objective, mobile, and individualized, enabling the preparation of competitive specialists capable of flexible adaptation within the modern artistic environment.

PIANO PERFORMANCE TRAINING FOR POP VOCALISTS

Dzvina HUSAR — 2025-12-31

The purpose of the study is to reveal the psychological and pedagogical features of working with future pop vocalists in the piano class, to determine the priority areas for the development of their instrumental and performing culture. The research methodology takes into account the historical development of piano teaching methods and is based on a comprehensive approach that involves theoretical analysis of scientific literature on musicology, music psychology, and pedagogy, combining musical-analytical and comparative methods with observational (analysis of the teaching process in the piano class and the practice of involving students in concert activities as soloists or accompanists). The scientific novelty of the work lies in the fact that for the first time an attempt has been made to outline the range of issues and tasks that arise in the process of forming the piano skills of a future pop vocalist; knowledge about the specifics of working with adult beginners has been deepened, favorable factors have been identified, and optimal directions for piano training of future pop vocalists have been proposed. Conclusions. The study allows us to conclude that piano performance training plays a significant role in the professional activity of a pop singer. Mastering piano skills in adulthood is successfully achieved by relying on previous musical and auditory knowledge, taking into account motivational and volitional factors. The components of piano training that provide the optimal set of skills for a pop vocalist include mastering a range of basic technical piano skills, broad familiarity with music from different eras and genres, and developing the skills of a teacher-rehearsal coach and accompanist, which are helpful for a pop vocalist.

TRENDS OF ACCORDION MUSIC IN THE CREATIVE WORK OF UKRAINIAN COMPOSERS OF THE 21ST CENTURY

Roman DYDYK — 2025-12-31

The article reveals the trends of the original accordion repertoire of Ukrainian composers in the 21st century. The resonance of artistic content belongs to professional composers, practicing teachers without a compositional education, who actively fill the repertoire gap based on educational and pedagogical needs, students of higher education institutions and concert musicians who reveal their creative potential through the need for self-expression of performing thinking and projection onto their own vision of the instrument and the music for it. The purpose of the article is to disclose the sketches of the creative output for solo accordion of contemporary Ukrainian composers in the genre variety for primary art education, higher education institutions and concert activities of the first quarter of the 21st century. The research methodology embodies the systematization of genre accordion varieties of the 21st century and focuses on the following methods: analysis of the Ukrainian original repertoire for the accordion (solo) of the first quarter of the 21st century; synthesis of composers’ creativity from primary art education to institutions of pre-higher and higher education and concert performers; classification of genre varieties of accordion music; modeling of repertoire content by professional composers and practicing teachers and concert participants. The scientific novelty lies in the disclosure of repertoire developments for the accordion in the new millennium for different levels of training with support from primary art education institutions. Repertoire content is divided according to genre features and achievements in each of them. The priority criterion is the repertoire for primary art education, where the sources of its content are (in the vast majority) teachers-practitioners (A. Martsenyuk, I. Myskiv, V. Klymenko, V. Viryasova, V. Soroka, V. Salii, V. Shlyubyk, S. Sokolyk, O. Zhuzha, A. Sich, M. Rozhko, O. Goncharov, O. Bodnarchuk, etc.). At the same time, the layer of today’s accordion repertoire is written by students of higher education institutions and performers, who proceed from the synthesis of creating their own samples of original accordion music and its dissemination on various artistic platforms. Among such creators, it is worth mentioning the names of I. Yergiev, V. Gubanov, S. Grinchenko, V. Kurylenko, R. Stakhniv, V. Vitskov, V. Godlevskyi, V. Kashuta, A. Kos, D. Snigirov, M. Samsonov, I. Saienko, T. Ilyukhin, V. Vasylenko, P. Gilchenko, N. Parashchuk and others. Among the genre varieties, the writing of polyphony and polyphonic miniatures, the concert genre, sonata, sonatina, suite cycles, children’s album, the genre of folklore arrangement, concert play, variation cycles, pop and jazz content stand out. Works are tested in the educational process, on the concert stage, at competitions and festivals of various levels, win prizes in composer nominations, etc. Another feature is the first performance of the music by the authors themselves (B. Myronchuk, V. Gubanov, I. Yerhiyev, Y. Oleksiv, R. Stakhniv, V. Viryasova, V. Klymenko, R. Bagdasaryan, R. Puneyko, P. Gilchenko, N. Parashchuk, V. Vitskov, V. Godlevsky, D. Snigirov, M. Samsonov, I. Saienko, etc.), which serves as motivation for the rotation of their own work on the concert stage.

TRANSFORMATION OF MUSICAL SPACE IN CHAMBER AND INSTRUMENTAL MUSIC OF THE 20TH AND EARLY 21ST CENTURIES

Liudmyla ZYMA — 2025-12-31

The article examines the issue of interpreting musical space as something that, in the modern era, is undergoing transformation, changing some of its qualities and acquiring new meanings and roles in instrumental music, which is extremely relevant for musicians, performers, and researchers. Today, this space is increasingly seen as a complex, multi-layered sonic-acoustic structure that shapes musical text and is perceived as a new artistic reality. The purpose of the study is to trace the genesis and transformation of the phenomenon of musical space in the new genre typologies of instrumental ensemble music from the post-modern era to the contemporary stylistic transformations of the 21st century. The current stage of development of musical art highlights the need for a deeper understanding of the phenomenon of spatial transformations within ensemble performance, as well as the sound space itself, which is increasingly acquiring symbolic “materiality” and conceptual content. Methodology. The methodological basis of the study is a comprehensive approach, the leading method is analytical, generalizing, with elements of comparative, cultural, philological, and new approaches to the analysis of already known phenomena of musical art. Scientific novelty. This new perception of sound space as a new sounding substance in chamber ensemble music and the change in the nature of the relationship with it appear to be a somewhat paradoxical phenomenon. After all, chamber instrumental music (from the Italian camera – room, hall, temple), which belongs to the spatial arts, traditionally exists in a clearly defined, mostly limited space. For the first time, the interpretation of artistic space is considered in individual instrumental ensemble works by Ukrainian composers: Viktoria Poliova, Olena Tomlyonova; European and Eastern composers, in whose works, in various authorial sonic and stylistic solutions in the reproduction of space and spatial phenomena, we find figurative “forays” into the borderlands of artistic life (K. Stockhausen, G. Crumb, K. Cerrone, S. Pan). Conclusions. The conclusions emphasize the relative underdevelopment of this phenomenon, compared to the category of time in music, since time in the time-space continuum is considered separately and multifaceted. However, in contemporary instrumental ensemble music, the understanding of the transformation of spatial indicators, as well as the sounding space itself, which is increasingly symbolically “materializing” and acquiring symbolic materialization, is becoming more and more significant, fruitful, and relevant.

LOGIC OF DISSONANCE AND RHYTHMIC FREEDOM: THE UNIQUE STYLE OF THELONIUS MONK

Valentyn IVANOV — 2025-12-31

The relevance of the article. This article offers a comprehensive analysis of the harmonic and rhythmic thinking of Thelonious Monk – one of the most original and influential jazz composers and pianists of the twentieth century. The study examines his innovative approach to harmony, grounded in the deliberate use of dissonance, asymmetrical intervals, and unconventional chordal structures. It demonstrates that Monk’s harmonic style operates not within traditional functional logic, but according to the principles of architectural thinking, where each interval and each pause generates internal drama and defines the spatial organization of sound. The purpose of the article. Special attention is devoted to the musician’s rhythmic system, characterized by microscopic shifts, intentional accentual asymmetry, and the use of silence as an active constructive element. The article highlights how, in Monk’s music, rhythm ceases to function merely as a temporal framework and becomes an independent layer of artistic meaning that exists in a dialogic relationship with harmony. The methodology. The study analyzes key features of Monk’s pianistic texture – his percussive touch, sharp articulation, and precise intervallic design, all of which create the effect of an “acoustic sculpture.” It is shown that Monk’s improvisations possess a clear compositional logic akin to a process of variation, in which the theme does not dissolve into a free stream of sounds but instead becomes the structural axis of a multi-layered musical dramaturgy. Emphasis is placed on the intellectual and structurally coherent nature of his improvisational approach, through which Monk united the freedom of jazz expression with the architectural principles of the European classical tradition. The practical significance. A separate section of the article explores Monk’s impact on the development of modern jazz, post- bop, and contemporary piano improvisation. It is established that his ideas concerning asymmetrical rhythm, dissonant harmony, and the notion of “inner time” became foundational for the creative explorations of many musicians from the second half of the twentieth to the early twenty-first century. The author underscores that Monk’s music remains a source of innovation today, as it proposes a model of musical thought in which sound, silence, and rhythm interact as equal components of a complex artistic system. The article concludes that Monk’s harmonic and rhythmic world constitutes a distinct philosophy of musical existence, where tension and calm, order and spontaneity, rationality and intuition coexist in perfect artistic balance. Thus, Monk’s creative legacy stands not only as a milestone in jazz history but also as a significant component of contemporary musical thinking.

THE UKRAINIAN STRING QUARTET OF THE 1920S IN THE CONTEXT OF SOCIOCULTURAL TRANSFORMATIONS

Serhii KAZAKOV — 2025-12-31

This article presents a comprehensive musicological analysis of the development of the Ukrainian quartet in the 1920s through the lens of the sociocultural transformations of the period. The purpose of the paper is to identify the features of the development of the Ukrainian quartet of the 1920s in the context of socio-cultural transformations of the era and to determine its place in the system of musical culture of the first third of the 20th century. The methodology includes a complex of methods of practical, historical and theoretical musicology. The scientific novelty of the work lies in the fact that The phenomenon of the quartet is examined as a significant genre of chamber-instrumental music, which emerged as a distinctive feature of Ukrainian musical culture, reflecting the profound social, ideological, and cultural changes of the post-revolutionary decade. Particular attention is given to the interaction between traditional national stylistic models and new artistic orientations shaped by shifts in social structure, cultural policy, and institutional frameworks. The study traces how the quartet compositions of early 20th-century Ukrainian composers responded to the demands of a new artistic wave in Ukraine, the expectations of a new generation of performers and audiences, the transformation of concert and rehearsal practices, and the changing functions of chamber music in society. Special emphasis is placed on the analysis of the synthesis of national and pan-European experimental influences in the work of composers of this period, including the integration of folk elements with modernist ideas, experimental compositional techniques, and inno- vative approaches to instrumental texture. Conclusion. The research demonstrates that the Ukrainian quartet of the 1920s functioned not merely as a genre form but as an indicator of sociocultural dynamics, combining individual compositional strategies, national traditions, and broader European trends in the development of musical culture. This study aims to deepen understanding of the role of chamber-quartet music, and the quartet genre in particular, in Ukrainian music of the first third of the 20th century, highlights its significance in shaping the cultural landscape of the post-revolutionary era, and underscores the necessity of an interdisciplinary approach to its study.

MEANING-MAKING MODELS OF THE MOTHER ARCHETYPE IN MUSICAL ART: A JUNGIAN-HERMENEUTIC ANALYSIS

Tetiana KAPLUN — 2025-12-31

The article is devoted to the study of meaning-generating models of the Mother archetype in the musical art of the nineteenth and twentieth centuries within the framework of the Jungian–hermeneutic paradigm. The Mother archetype is conceptualized as a fundamental pre-semantic structure of intonational thinking that determines the deep levels of musical semantics, dramaturgy, and form-building, while also ensuring a connection between individual artistic experience and collective cultural memory. The purpose of the paper is to identify, typologize, and interpret meaning-generating models of the Mother archetype in the musical art of the nineteenth and twentieth centuries, as well as to substantiate its status as an ontological model of intonational thinking functioning at the pre-conceptual, pre-predicative level of musical meaning. The methodology is based on the integration of Jungian archetype theory with the hermeneutic analysis of musical texts. An interdisciplinary approach is employed, combining musicological analysis (intonational, thematic-dramaturgical, textural-timbral) with cultural and philosophical interpretation. Particular attention is paid to the pre-semantic level of musical thinking, where the archetype emerges as a structure-forming principle. The study takes into account cultural- historical contexts and national-mental characteristics of Western European and Ukrainian compositional traditions. The scientific novelty of the study lies in the conceptualization of the Mother archetype as an ontological factor of intonational thinking rather than merely an imagistic-thematic constant. For the first time, a typology of meaning- generating models of the Mother archetype in the musical art of the nineteenth and twentieth centuries is proposed, making it possible to trace the mechanisms of archetypal semantization in diverse stylistic and cultural contexts. Conclusions. The article presents a systematic Jungian–hermeneutic analysis of the Mother archetype as a key meaning-generating structure in the musical art of the nineteenth and twentieth centuries. Based on the works of F. Chopin, R. Wagner, G. Mahler, M. Lysenko, K. Stetsenko, and B. Lyatoshynsky, four principal models of the Mother archetype are identified: the sacred-cosmogonic, lyrical-existential, tragic-apocalyptic, and transformational. These models represent different modes of meaning generation and intonational encoding. The evolution of the Mother archetype in nineteenth- and twentieth-century musical culture demonstrates a shift from a harmonized, idealized image to an ambivalent, multidimensional structure that accumulates the experience of collective memory, historical trauma, and existential limit situations. The Mother archetype emerges as a stable semantic center of musical culture, concentrating notions of origin, continuity, and the ontological foundations of human existence.

PEDAGOGICAL BIOGRAPHY OF FIGURES OF THE MUSICAL CULTURE OF THE DIASPORA AS AN IMPORTANT DIRECTION OF UKRAINIAN SCIENCE

Hanna KARAS — 2025-12-31

The article is devoted to a review of the achievements of musical pedagogy of the Ukrainian diaspora. The purpose of the research is to consider the activities of individual personalities of the diaspora musical culture through the prism of pedagogical biography. Based on the concept of academician Olha Sukhomlynska, the study considers pedagogical personality as a separate subject of historical and pedagogical research. Attention is drawn to the lives of teachers, their personal biographies, which form the basis for the reconstruction of the entire era of the twentieth century and reflect the pedagogical experience of this period. One personality is chosen to analyze individual subspecies of musical pedagogy of the Ukrainian diaspora: piano pedagogy is represented by Roman Savytskyi, violin pedagogy by Roman Prydatkevych, guitar pedagogy by Leo Vitoshynskyi, bandura pedagogy by Zynovii Shtokalko, vocal pedagogy by Oleksandr Myshuga, and conducting pedagogy by Mykola Malko. The research methodology is determined by the historical-chronological, systemic, axiological, and cultural methods of scientific knowledge. In particular, the historical-chronological method was used to consider the socio-political and cultural circumstances of the creative life of music teachers; the systematic method helped to consider the phenomenon of pedagogical biography in the interrelationships of various components; the axiological method was used to determine the value of the contribution of the leading figures of the musical culture of the Ukrainian diaspora to world music pedagogy; the culturological method provided consideration of the musical pedagogy of the diaspora as an integral part of Ukrainian and world musical culture. Conclusions. The achievements of the art pedagogy of the Ukrainian diaspora, through the prism of pedagogical biography of personalities, have an important historical and cultural significance, as they are not only evidence of the historical development of art education and pedagogy outside their native land, but, remaining Ukrainian in essence, contributed to the development of global and national culture.

KINETIC MODELS OF PHRASING IN CHORAL PERFORMANCE AS A FACTOR OF ARTISTIC EXPRESSIVENESS

Liliia KACHURYNETS — 2025-12-31

The objective of the article is to describe kinetic models of phrasing in choral performance and to identify their influ- ence on the formation of artistic expressiveness of choral sound. The kinetic approach is considered as a tool for analyzing and interpreting a musical work, within which movement, breathing and gesture act as constructive factors of intonation development. Methodology. The research used a comprehensive and systematic approach that combines analytical, com- parative-historical and performance-interpretation methods. The analysis of respiratory, gestural and intra-motor pro- cesses was carried out based on musicological, conducting and performance psychological research. Kinetic models were determined by comparing the nature of the sound wave, the structure of dynamic development, the features of articulation and the plasticity of the conductor’s gesture. Special attention is paid to the applied analysis of the choral arrangement of “Prialia” by M. Leontovych to verify the functioning of the models in a real performing context. Scientific novelty. Four types of kinetic models of phrasing are proposed for the first time: wavy, arched, pulsed and linear, as stable schemes of the motor-energy organization of a musical phrase. Criteria for their isolation are proposed, covering respiratory log- ics, the trajectory of the gesture, the method of forming the climax and internal pulsation. The connection of kinetic models with genre specificity, linguistic characteristics of the text, timbre dramaturgy and acoustics of the performance space is substantiated. It is proved that the kinetic parameters of the phrase directly affect the ensemble coherence, intonation stability and emotional-figurative result of the choral interpretation. Conclusions. Kinetic models of phrasing appear as key factors of artistic expressiveness of choral sound, as they determine the method of motor formation of musical thought and structuring of intonation development. The coordinated action of breathing, microplastics and conductor’s gesture ensures the integrity of the phrasal trajectory and enhances the emotional impact of the work. The analysis of the choral arrangement of M. Leontovych’s “Prialia” confirmed the effectiveness of the kinetic approach for a deeper understanding of the dramaturgy and figurative content of the Ukrainian choral work. Prospects for further research are in deepening the classification of kinetic models, studying their application in modern choral art and developing methodological tools for conducting and performing practice.

CHORAL SCENES IN THE EMBODIMENT OF THE REBIRTH CONCEPT IN BORYS LYATOSHYNSKY’S OPERA «THE GOLDEN RING»

Viktoriia KASHAIUK — 2025-12-31

The article analyses the role of choral scenes in the embodiment of the Rebirth concept in Borys Lyatoshynsky’s opera «The Golden Ring». Modern musicology is at the stage of active understanding of the national classical heritage through the prism of ethnocultural identity and new stage interpretations. In this context, the figure of Borys Lyatoshynsky and his operatic work, in particular the opera «The Golden Ring», appear as representative objects for studying the processes of folklore synthesis sources with modern composerʼs language. The purpose of the article is to reveal the role of choral scenes in the embodiment of the Rebirth archetype concept in Borys Lyatoshynsky’s opera «The Golden Ring». The research methodology is based on a combination of cultural studies, method and holistic musicological analysis. Scientific novelty: analysis of the cultural meanings in Borys Lyatoshynsky’s opera «The Golden Ring» through the prism of highlighting the role of choral scenes in the embodiment of the Rebirth concept. Conclusion. The opera demonstrates a consistent and artistically balanced portrayal of the Carpathian-Rusyn ethnic group, which is made particularly convincing by the dominance of choral scenes. It is the choir that becomes the main means of representing the folk environment, its historical memory, mental attitudes and collective worldview. The com- poser creates a multidimensional sound panorama that combines emotional confession, everyday liveliness, and ritual and ceremonial elements of traditional culture. In this context, the choir acts not only as a musical element, but also as a fundamental means of revealing the idea of community, which determines the trajectory of the entire dramatic develop- ment of the opera. Thus, choral semantics performs a conceptually defining function in the opera. The choir appears as a generalised image of the community – a collective subject of action that not only comments on events but also shapes the semantic space of the opera. With the help of developed polyphony, alternating unison and polyphonic textures, the rhythmic energy of kolomyika formulas and characteristic modal-intonational turns, the composer achieves a high level of ethno-stylistic authenticity. At the same time, these means do not literally copy folklore, but transform it using the tools of professional compositional language, which gives the choral numbers artistic generality. Of particular impor- tance is the choirʼs ability to convey the various emotional states of the community – from concentrated lyricism to tragedy and energetic life affirmation, which is key to the embodiment of the idea of Rebirth.

THE IMAGE OF A SOLOIST-ACTRESS IN FOLK-VOCAL ART: VOCALS, GESTURE, DRAMATURGY

Natalia KOVAL — 2025-12-31

The article provides a musicological understanding of the image of a soloist-actress in folk vocal art as a complex synthetic artistic phenomenon that is formed in the interaction of vocal-intonational, gestural-bodily and dramaturgical components of the performance process. The purpose of the study is to identify the specifics of the formation of the stage image of a folk singing soloist in the conditions of a modern concert and stage space, where a traditional folk song functions not only as a folklore example, but as a dramaturgically organized work of art. The methodological basis of the work is performed-analytical, intonation-stylistic and structural-dramaturgical approaches, as well as elements of folkloristic analysis and interdisciplinary provisions of the theory of «embodied voice», which allow us to consider folk solo singing as a complete stage action. The scientific novelty of the study consists in a comprehensive analysis of the image of a soloist-actress in the context of folk vocal art, where gesture and physicality are substantiated as full-fledged semantic components of the performance process, and dramaturgy is interpreted as an internally determined psychological mechanism of stage interpretation. As a result of the research, it was established that vocal intonation forms the emotional and meaningful core of the image, gestural and bodily expressiveness ensures its stage convincingness, and dramaturgical thinking gives the performance internal logic and artistic completeness.It has been proven that the folk solo performance in the modern stage space is based not so much on external theatricalization, but on the deep inner living of the song image, which ensures emotional authenticity and artistic persuasiveness of the performance and actualizes folk vocal art in the modern cultural context.

GENRE AND STYLE MODELS IN MODERN INSTRUMENTAL PERFORMANCE

Ivan KOSYNETS — 2025-12-31

Modern instrumental performance is significantly influenced by global cultural transformations, leading to the blur- ring of traditional genre boundaries and the formation of new genre-style models. The relevance of this topic is determined by the intensive processes of hybridization, the search for innovative expressive means, and pioneering performance styles in the musical art of the late 20th and early 21st centuries, necessitating a theoretical understanding of these recent trends. The aim of the study is to analyze the genre and style models that are being actualized in contemporary instrumental performance. The research methodology is based on an interdisciplinary approach that integrates musicological analysis with cul- tural studies methodology within the context of general transformational processes in contemporary culture. The primary research methods include general scientific methods (systemic approach, induction and comparative analysis), analytical musicology, genre and style analysis, as well as diachronic and synchronic methods, applied in a comprehensive inte- grated manner. The scientific novelty of the study lies in the fact that, for the first time, a comprehensive interdisciplinary analysis has been conducted on the impact of globalization processes, technological progress, and inter-artistic interaction on the formation of new hybrid forms. These forms reflect the complex and multi-vector landscape of contemporary musical culture. The article examines the concept of a “genre-style model” as a system that combines the formal characteristics of a genre with the historical and personal features of a performance style. Key trends and transformations of genre-style models in modern instrumental performance are investigated, specifically through the example of piano repertoire. Phe- nomena such as polystylism, neo-folklorism, sonoristic experiments, and other expansions of performance techniques are considered dominant factors of transformation in the musical art of the 20th and early 21st centuries. It is concluded that modern instrumental performance is characterized by the absence of a single canon. It requires the performer to possess not only virtuous instrument mastery but also universality, broad erudition, and a deep under- standing of various styles. Furthermore, it demands the ability to adapt quickly, a readiness for innovation, and a creative approach to interpreting musical material, which often incorporates elements of improvisation and performance art.

SEMIOTICS OF MUSICAL SYMBOLISM IN THE ARAB TRADITION

Olena KULINICH — 2025-12-31

The aim of the work is based on the study of the semiotic potential of the Arabic musical tradition through a compre- hensive analysis of its modal-intonational and metrorhythmic organisation, monophonic-heterophonic texture, improvisa- tional nature, and symbolic interconnection with poetic, ritual, and sociocultural practices. The article aims to reveal how musical sign systems shape the emotional and figurative semantics and cultural identity of Arabic music. The research methodology involves the use of an interdisciplinary semiotic approach that combines musicological, cultural and ethno- musicological analysis. The modal structures (maqams), metrorhythmic patterns (iqāʿ), texture, improvisation and per- formance practices of Arabic music are studied. The analysis is based on a comparison of classical and contemporary sources and concepts of musical signs and symbols, which allows us to consider a musical work as a carrier of cultural and aesthetic meaning. The scientific novelty emphasises the systematisation of knowledge about the symbolic potential of maqams and iqāʿ rhythms as cultural and emotional codes. It is shown that the monophonicity of Arabic music is realised through heterophonic texture and variability of performance, while improvisation and ornamentation enhance the semantic and aesthetic impact of musical expression. The close connection between musical codes and poetic text, ritual practices, and sociocultural contexts is proven. The conclusions demonstrate that modal-intonational and metro- rhythmic organisation, heterophonic texture, improvisation, ornamentation, and emphasis on poetic text form the multi- layered semiotic space of Arabic music. This ensures the dynamism, symbolic richness and cultural uniqueness of the tra- dition, reflecting a specific aesthetic philosophy based on individualisation, deep poetic meaning and the phenomenon of tarab – the experience of intense emotional and aesthetic pleasure while listening to music.

PODIL MOTIFS IN MYKOLA LASTOVETSKY’S COMPOSING CREATIVITY

Lіubomyra LASTOVETSKA — 2025-12-31

The purpose of the article is to examine the place of the imaginative and thematic sphere related to Podillia in the creativity of the modern Ukrainian composer Mykola Lastovetskyi (*1947). The research focuses on a complex methodological approach, with an emphasis on analytical, musicological, comparative and biographical methods. The chosen topic is of particular interest due to the fact that the artist, being a native of Podillia – the city of Dunaivtsi, Khmelnytskyi region, has been living in another region for almost fifty years, in the city of Drohobych, Lviv region. It is emphasized that the composer’s creativity includes works related to Boykivshchyna and Boyky themes, as well as to Podillia. It was established that a significant influence on the development of M. Lastovetsky’s personality had Mykola Mahera (1922–2008) – a famous Ukrainian writer and poet, the brother of the composer’s mother Nina Mahera, who lived in Khmelnytskyi. It has been established that «Podillia motifs» are present in the following genres of M. Lastovetskyi’s creativity: symphonic (prelude «The Legend about Karmaliuk» (1969, second edition 1999, third edition 2024)), piano («Podilskyi dance», «Lullaby from Podillia» from the first collection of piano pieces for children and youth; «On Native Spaces», «Song of the Traveler», «Podilskyі Roundabout», «Eager Cossack (Scherzo)», «Folk Chant», «Folk Paraphrase», «Handzia (Podilskyі Etude)», «Polyphonic Prelude», «Treasured Dream», «Evening Landscape», «Little Nocturne» from the cycle «Musical horizons» from the third collection of piano pieces for children and youth), choral (Choir Concert No. 4 (twelve preludes and fugue) «I believe, my Motherland!» for a cappella mixed choir (2024) to the words by M. Mahera) etc. Podillia and Boyky folklore, its intonation, metro-rhythmic and compositional features were creatively rethought by M. Lastovetskyi in various spheres of creativity, which gives reason to consider his works in the direction of neo-folklorism.

DIALOGUE BETWEEN CHINESE POETRY AND THE EUROPEAN MUSICAL TRADITION IN THE ART SONG (A CASE STUDY OF HUANG ZI’S «TA XUE XUN MEI»)

LIU Shijie — 2025-12-31

The aim of this study is to examine the dialogue between the Chinese poetic tradition and European musical aesthetics within the genre of the Chinese art song, using Huang Zi’s Ta Xue Xun Mei as a case study. The research seeks to expand the international vocal repertoire by incorporating Chinese art songs and to establish a methodological foundation for their more expressive and stylistically authentic performance. Particular attention is paid to overcoming the language barrier that often prevents Western performers from engaging with this repertoire. The song Ta Xue Xun Mei by one of the leading Chinese composers of the early twentieth century, Huang Zi, was selected for analysis. Despite his significant influence on the formation of China’s national vocal school, his oeuvre remains insufficiently studied in Western musicology. Methodology. The article employs an integrated methodological approach combining historical-stylistic, structural- analytical, and comparative methods. A detailed analysis of the poetic text and the musical realization of Ta Xue Xun Mei is undertaken, examining its modal-intonational, rhythmic, textural, and semantic-imagery features. The analysis is based on both the musical score and the works of contemporary Chinese and Western music scholars, allowing for an exploration of the interaction between traditional Chinese poetry and European compositional techniques. Scientific novelty. The scientific novelty of the study lies in the development of an interpretative and performance- oriented approach to the Chinese art song addressed to singers who do not speak Chinese. For the first time in Ukrainian musicological scholarship, a comprehensive analysis of a song by Huang Zi is proposed that takes into account the poetic source, the phonetic specificity of Putonghua, and the vocal practice of the Western bel canto tradition. Literal and poetic translations of the text are provided, along with practical transcriptions based on the International Phonetic Alphabet (IPA) and the pinyin system. Conclusions. The study demonstrates that the Chinese art song is a unique phenomenon of intercultural synthesis in which ancient Chinese poetry and the European musical tradition are organically combined. The proposed analytical and performance-oriented approach contributes to a deeper understanding of the stylistic features of this repertoire and creates preconditions for its more active inclusion in international concert and pedagogical practice. Familiarity with works such as Ta Xue Xun Mei opens new artistic horizons for singers and researchers and encourages further exploration of Chinese vocal culture.

THE WINTER’S TALE AS AN INITIAL SPACE (ON THE EXAMPLE OF THE ANALYSIS OF “PRELUDE AND FUGUE IN C MINOR” NO. 20 FROM THE CYCLE “24 PRELUDES AND FUGUES” BY V. ZADERATSKY)

Natalіa MAKAROVA — 2025-12-31

The aim of the study is to analyze the cycle “24 Preludes and Fugues” by Vsevolod Petrovich Zaderatsky, in particular Prelude and Fugue in C minor No. 20, as a mini-cycle that combines the musical, symbolic and cultural aspects, revealing the depth of the composer’s existential experience, the peculiarities of his psychological and spiritual reflections, as well as the unique organization of time and space in his work. This diptych demonstrates the principles of interaction of musical, symbolic and cultural elements, which become a means of understanding the inner world and archetypal images characteristic of the entire cycle, and reflects the peculiarities of the composer’s artistic consciousness in the context of his emotional and spiritual experience. The methodological basis of the work is a comprehensive analysis of a musical work, which includes musicological, psychological, cultural and theological approaches. Such an interdisciplinary approach allows us to trace the interaction of archetypal images, rhythm, tempo, symbolic models and structural organization of the work, as well as to determine the features of the reproduction of the composer’s inner experience in musical form, ensuring a comprehensive understanding of the symbolic aspects of the diptych. The scientific novelty lies in the definition of the Prelude and Fugue in C minor No. 20 from the cycle “24 Preludes and Fugues” as a separate diptych, where the musical structure, symbolic images and historical, cultural and theological dimensions are interconnected and form a holistic system of experiences, reflections and artistic intentions. It is shown that the work combines the cyclical nature of time, the image of a winter fairy-tale forest and a spinning wheel that stubbornly spins the thread of life, the motif of sighs and “knots of fate”, which allows us to deepen our understanding of the psychological, symbolic and cultural aspects of Zaderatsky’s work and demonstrates the features of his compositional technique and artistic thinking. The results of the work confirm that the work of Vsevolod Zaderatsky is not only an artistic phenomenon, but also an environment of symbolic, psychological and spiritual experience, capable of preserving national cultural memory, comprehending historical traumas and forming new approaches to the interpretation of musical text, which emphasizes the significance of his legacy for the development of Ukrainian musical culture, musicology and art history in general.

VOCAL PERFORMANCE AS A COMBINATION OF DIFFERENT GENRES

Svitlana MANKO — 2025-12-31

The article is devoted to the study of the interaction of vocal and speech techniques in the process of training an actor of musical and dramatic theater in the context of vocal performance as a synthetic form of modern stage art. The relevance of the topic is due to the transformation of the genre nature of musical and dramatic theater, which puts forward new professional requirements for the actor as a universal performer, capable of organically combining singing, stage speech and dramatic action within the framework of a holistic artistic image. The article analyzes modern scientific approaches to the problem of stage voice formation, justifies the feasibility of integrating vocal and speech training and defines vocal performance as a space for active genre and intonation synthesis. The common physiological and psychophysical principles of vocal and speech techniques are considered, in particular, breathing, articulation, resonance and intonation organization, which allows them to be interpreted as a single coordination system subordinated to the artistic tasks of stage action. Particular attention is paid to methodological approaches to the integration of vocal and speech in the educational process, a phased model of the formation of the actor’s vocal and speech competence is proposed and its practical significance for work in a multi-genre repertoire is outlined. It is proven that an integrated approach contributes to increasing the stage organicity, intonation accuracy, semantic expressiveness and genre mobility of the performer. The conclusion is made about the prospects of further research aimed at the experimental implementation of integrated methods in the system of professional training of actors of the musical and dramatic theater and the study of their influence on the artistic results of modern stage practices.

PERFORMING PHENOMENON OF AN ETHNO-JAZZ SINGER MARYNA YURASOVA (MLADA)

Oksana MASNYK — 2025-12-31

The article is based on a written interview conducted by correspondence between the author of the publication and the first Ukrainian ethno-jazz singer Marina Yurasova (stage name ‘Mlada’), and is devoted to revealing the phenomenon of the performing individuality of a pop singer, which lies in her self-identity, national roots and folklore. The article describes the stages of the formation of the singer’s individual performing style and reveals the peculiarities of the synthesis of ethnic, popular, and jazz music, which include characteristic features of modal, harmonic, melodic, thematic, and intonational features, the use of vocal techniques and techniques saturated with melismas, improvisational moments, emphatic accents, and reduction of words and syllables. The repertoire priorities of vocalists in the process of formation, which are based on Ukrainian folk song creativity combined with contemporary jazz and popular styles, are identified and analyzed. The author’s online vocal school “Learning to Sing” is considered, where Marina Yurasova shares her vocal and performing experience, which includes the best practices of modern vocal schools combined with traditional classical schools. The methodological aspects of her pedagogical activity are substantiated, which include the staging of singing breath, singing on support, the use of vocal resonators, singing in a speech position, working on intonation, familiarization with various musical styles and manners of singing, the use of vocal embellishments, sketch improvisations, melismas, riffs, etc. The algorithm of personal analysis of the phenomenon of the creative personality of a pop singer has been revealed, and the levels of creation of his individual performing style have been determined. The algorithm of personal analysis of the phenomenon of the creative personality of a pop singer has been revealed and the levels of creation of his individual performing style have been determined. The study found that contemporary Ukrainian pop vocal performance is open to experimentation, and that synthesis with jazz elements enriches and fills it with new types of interpretation and offers prospects for further musicological research.

SACRED VISUALIZATION IN THE CONTEXT OF THE PERFORMANCE OF THE SPIRITUAL CHORAL WORK “PRAYER” BY HANNA GAVRILETS

Roman MACHYSHYN — 2025-12-31

The purpose of the research is to analyze the famous spiritual work by Hanna Gavrilets, “Prayer”, exhibited by choral groups both from Ukraine and abroad for the purpose of the existing original visual production, which is saturated with a certain sacred content, namely, the symbolism of the circle. It was found that each of the analyzed performances of the groups contains a conceptual idea that is common to all choirs in general, but in each individual case is endowed with individual features. The following research methods were used: musicological and performing – when analyzing the interpretation by choral groups; historical – in the aspect of analyzing the works of researchers, according to chrono- logical sequence; philosophical – when working out the philosophical and aesthetic ideas of a particular author of the col- lection; comparative – in the comparative analysis of the performance of choirs from the point of view of the exposition of the work within the framework of its presentation on stage. Along with this, in the context of the phenomenon under study, which is formed as a result of artistic synthesis, elements of interdisciplinary approaches to the object of analysis, namely, the choral work “Prayer” – theatricalization, were involved, taking into account the presence of production com- ponents. The scientific novelty lies in addressing the topic of visual staging in the context of the performance of a spiri- tual choral work, namely, the moment of symbolic sacralization, which indicates a special interpretation of the content of the work by the author and does not always receive expression in interpretative options, respectively, requires man- datory coverage with scientifically confirmed justification. Such an approach has not yet been outlined in relation to the spiritual choral heritage of Hanna Gavrylets. Conclusions. The active work of modern ensembles, such as the Kyiv Choir and the Lviv National Opera Choir, as well as the Chamber Choir of the University of California, Ireland, proves that the use of visual staging in the context of performing a spiritual choral work with its full understanding and inter- pretation of the main ideological idea forms a complex general artistic impression for the listener and viewer, thus more accurately revealing its content.

THE PHENOMENON OF PEDAGOGICAL PRESENCE IN MUSIC EDUCATION: THE EXAMPLE OF O.M. SHCHELKANOVTSEVA

Alla MELNYK — 2025-12-31

For many decades at the Department of Orchestral String Instruments of the Kharkiv National University of Mystery named after I. P. Kotlyarevsky was taught by the renowned musician, scientific teacher Olena Mikhailivna Shchelkanovt- seva, whose creativity ultimately influenced the formation of the national violin school. The article presents an artistic and analytical portrait of the professor. The main principles of her pedagogical philosophy, the style of writing, the orga- nization of work, the peculiarities of interaction with students and colleagues, and the performance experience are ana- lyzed. Also examined are different approaches and methods of transferring knowledge and professional skills, keeping the emotional aura in the workplace, benefits in the process of working on musical works, preparing students before public appearances. This is a look at the role of the teacher in the development of a musician, as well as the deep understanding of the ethical essence of the teaching profession. The emphasis is on the leading role of the professor in the Ukrainian performing and pedagogical tradition and the continuous influx into the formation of musicians of the new generation, not only the performers, but like little special features. The prospects for further investigations related to the expansion of the source base and the formation of a narrowed, “objective” portrait of a prominent representative of the Kharkiv cello school are described. The purpose of the article is to highlight the main aspects of the pedagogical and performing activities of the lead- ing lecturer of the Department of Orchestral String Instruments of the I. P. Kotlyarevsky KhNUM, PhD, Professor O. M. Shchelkanovtseva, and individual pages of her life related to relationships with students and colleagues. The research methodology is based on a combination of historical-biographical, analytical and comparative approaches. The source base is based on the personal memories of the authors, who are direct students and colleagues of O. M. Shchelkanovtseva. The scientific novelty lies in the implementation of a holistic analysis of the pedagogical model of O. M. Shchel- kanovtseva as a phenomenon that combines performance ethics, methods of interpretative work and a special type of emo- tional and value pedagogical space. The unique non-verbal and communicative strategies of the professor are outlined, the role of her performance expe- rience as a factor in the formation of a «thinking performer» is revealed, the concept of «ensembleness» is revealed as a way of building pedagogical interaction based on co-presence, trust and ethical responsibility is revealed. The pedagog- ical heritage of O. M. Shchelkanovtseva is described as a system of transmitting value impulses that are transformed into the professional practices of her students and preserved in the musical environment as an element of a living tradition. An interpretation of her pedagogy is proposed as an existential practice in which the development of technical mas- tery is inseparable from the inner experience of music, the formation of performing will and a conscientious attitude to the profession. The conclusions indicate that the teaching activities of Professor O. M. Shchelkanovtseva, her methodological system, based on encouraging students to be independent, striving for technical perfection and artistic development, constitute an important component of both the history of the Department of Orchestral String Instruments of the I. P. Kotlyarevsky KhNUM, and the entire Ukrainian musical and pedagogical tradition.

THE ECUMENICAL SPACE OF CHORAL MUSIC: MILITARY EXPERIENCE IN CONTEMPORARY COMPOSITIONAL CREATIVITY

Sofiia MYHAL — 2025-12-31

The article presents the first experience of musicological analysis and interpretation of interfaith compositions by contemporary artists, emphasising the scientific novelty and relevance of the chosen topic. The work focuses in particular on composers’ responses to the horrific events of the present day in the works Stabat Mater by Iryna Aleksiychuk and Ukrainian War Requiem by Benedict Shihan, which are permeated with the idea of military memorials. The purpose of the paper is to identify the genre-semantic transformations of the requiem and cantata in 21st-century sacred music through the prism of military experience. The research methodology is based on an integrated approach that involves a synthesis of genre-style, analytical, transcultural, spiritual-semantic, and intonational-dramaturgical methods. A special place in the article is given to the Ukrainian context, in which sacred works acquire the significance of musical monuments to the victims of war and symbols of the indestructibility of the national spirit. Based on the material of I. Aleksiychuk’s cantata “Stabat Mater,” the artistic means of embodying the image of the Mother (a symbol of personal and national grief) are analysed, reveals the dramaturgy of the cycle, the principles of form creation, the role of the leitmotif, timbral symbolism, and genre-intonational features that form a trajectory from lamentation to philosophical enlightenment. A review of B. Shikhan’s Ukrainian War Requiem, an ecumenical memorial cycle based on a synthesis of Orthodox, Latin and Ukrainian texts, has been conducted. The conclusions summarise the findings of the study. It has been proven that I. Aleksiychuk’s Stabat Mater is an intimate prayer for the victims of war and an artistic projection of Mother-Fatherland mourning her sons. It has been revealed that the multilingualism of B. Shikhan’s Ukrainian War Requiem, the reference to the rites of the funeral service, and the combination of different cultural traditions form a universal language of solidarity and peace, which are vividly interpreted by the American composer in support of the Ukrainian people. It is emphasised that the newly created a cappella choral compositions create a new aesthetic of wartime art and become an important tool of cross-border cultural diplomacy, musical reflection on tragic reality, representing the transformation of static grief into a dynamic process of spiritual resistance and prayer, in order to find peace of mind.

SUITE FOR TWO VIOLINS AND PIANO, OP. 71 BY MORITZ MOSZKOWSKI AS AN EXAMPLE OF GENRE TRANSFORMATION

Oksana MITS — 2025-12-31

The article examines the Suite for Two Violins and Piano, Op. 71 by Moritz Moszkowski, as an example of genre transformation within the 19th-century chamber ensemble genre. Particular attention is paid to the analysis of the instrumental scoring, textural organization, and stylistic features of the work. The goal of the study is to identify the peculiarities of the compositional structure and stylistic properties that indicate active processes of genre diffusion, resulting in the birth of a new concept of chamber symphonism – a synthesis of chamber interaction and concert virtuosity. The methodological basis of the study includes: the analytical method – to reveal the features of the work’s musical language, the structure of its movements, and the textural and thematic processes; the comparative-historical method – to identify links between Moszkowski’s Suite and analogous examples of chamber music by J. S. Bach, F. Mendelssohn, and C. Saint-Saëns, which allows tracing the historical dynamics of genre transformation; stylistic analysis – to determine the individual characteristics of M. Moszkowski’s compositional style; and the interpretative-performance approach – to reveal the interaction of instrumental parts and the concertante tendencies within the chamber ensemble. The scientific novelty of the work lies in the attempt to consider the Suite for Two Violins and Piano for the first time not only as an example of ensemble art but also as a model of the genre’s evolution and its new «face». Conclusions. It is determined that the scoring – two violins and piano, which is atypical for the traditional piano trio – determines a unique timbral and textural structure that brings the work closer to the concerto genre. The analysis revealed that thanks to the combination of solistic, duet, and trio elements, a new model of chamber symphonism was born in the work.

THE SACRED AND ETHICAL COMPONENT OF MUSICAL POSTMODERNITY (ON THE EXAMPLE OF J. TAVENER’S “THANKSGIVING AKATHIST”)

Olha MURAVSKA — 2025-12-31

The study summarizes the genre and intonation specificity of J. Tavener’s «Thanksgiving Akathist» in the context of spiritual searches of the postmodern era. The purpose of the work is to identify the genre-stylistic and poetic-intonational uniqueness of J. Tavener’s «Thanksgiving Akathist» in the context of the composer’s religious and ethical positions and the spiritual guidelines of postmodernism. The methodology of the work is comprehensive and is based on a combination of the principles of interdisciplinary, historical-typological, hermeneutic, and genre-stylistic research methods. The scientific novelty of the work is determined by the fact that it is the first in Ukrainian musicology to summarize the genre and intonation specificity of J. Tavener’s «Thanksgiving Akathist» and its contact with the spiritual guidelines of postmodern culture and music. Conclusions. Postmodernism emerged as an intellectual movement designed to comprehend the political and culturalhistorical problems of the present day. Postmodernist sentiments are characterized by disappointment in the ideals of the progressive path of human development with its belief in the dominant role of the human mind. The avant-garde focus on the constant discovery of «new shores» is opposed here by the desire to involve the entire experience of world art in contemporary art by quoting it. One of the common features of postmodernism in music is the idea of returning to beauty as reality, expressive melody and tonal harmony. The latter is also connected with the search for spiritual and religious foundations of existence, which appeal not only to confessional and ecumenical synthesis, but also to the creative revival of the Eastern Christian (Byzantine) spiritual and ethical and musical tradition, which becomes the background for the formation of the phenomena of “sacred minimalism”, “new simplicity”, “poetics of silence”, “meditative music”. The legacy of J. Tavener, as well as his creative and spiritual biography, testify to the artist’s involvement in these spiritual and artistic processes. The poetic and intonation specificity of the composer’s “Thanksgiving Akathist”, created during the period of his adoption of Orthodoxy, reproduces a synthetic type of artistic thinking typical of postmodernism. Within the liturgical genre of the akathist with its indicative structure, J. Tavener organically combined the traditions of Byzantine liturgical singing, the intonations of the later Orthodox Holy Week service, and the timbre-expressive possibilities of the vocal art of countertenors and tenor singing in the conditions of Western Christian Gregorian chant. They are complemented by the author’s appeal to high polyphony, musical rhetoric and the symbolism of the timbre of the organ, bells, and string orchestra, which together form a monumental symphony-mystery, a universal hymn that overcomes time and confessional divisions, ultimately uniting humanity and becoming the key to Universal Harmony-Order.

FEATURES OF VOCAL SOUND FORMATION IN BEGINNER VOCALISTS

Vasyl NAVROTSKYI — 2025-12-31

The article examines the peculiarities of vocal sound formation in novice singers as one of the key factors in the development of vocal performance skills. The main principles of sound formation at the initial stage of vocal development are considered, as well as the stages of work on voice training aimed at achieving a natural, even, and artistically expressive sound. Attention is focused on the interconnection of the physiological, acoustic, and performance components of vocal sound that determine its quality and stability. The purpose of the article is to understand the specifics of vocal sound formation in beginner vocalists and to identify the conditions that contribute to the development of a fullfledged, technically sound, and stylistically adequate vocal sound at the early stage of performance development. The methodological basis of the study is a combination of theoretical and practical methods, in particular the analysis of scientific and methodological sources, the generalization of vocal and performing experience, a comparative analysis of approaches to the formation of vocal sound, as well as observation of the process of vocal work with beginners. The scientific novelty of the study lies in the generalization and theoretical understanding of many years of practical experience working with beginner vocalists, which made it possible to specify the features of vocal sound formation at the early stage of performing development. The work offers the author’s vision of the process of sound formation, formed on the basis of long-term practice of individual vocal work, combining technical, auditory, and artistic-interpretative aspects. The conclusions indicate that effective vocal sound formation in beginner vocalists is possible when technical expediency, auditory control, and artistic orientation of the performance process are combined. Correct work at the initial stage creates the foundation for the further development of individual vocal manner and professional voice stability

PROFESSIONAL AND PSYCHOLOGICAL ASPECTS OF COLLABORATION BETWEEN A VOCALIST AND AN ACCOMPANIST

Svitlana ODAINYK — 2025-12-31

The article describes the vocal-instrumental duet of a vocalist and an accompanist and the specific features of their interaction. The purpose of the article is to provide a comprehensive analysis of the professional and psychological aspects of collaboration between the vocalist and the accompanist, which determine the quality of their joint creative activity and the artistic outcome of performance omparative analysis of the professional and psychological characteristics of the performing duo, and a structuralfunctional approach to examining the key elements of their interaction during rehearsal and stage practice. The scientific novelty of the work lies in the integrated consideration of the professional and psychological factors that ensure the effectiveness of the vocalist– accompanist duet. For the first time, a comprehensive model of interaction is proposed, encompassing technical synchrony, stylistic coherence, dynamic balance, emotional empathy, communicative strategies, and mechanisms for overcoming performance-related stress. Emphasis is placed on the dual roles of the partners: the collaborative pianist as the psychological and rhythmic «anchor» and the vocalist as the emotional leader of the performance process. Conclusions. The article demonstrates that the success of vocalist– accompanist cooperation is determined by the combination of high professionalism and psychological compatibility. Professional aspects – technical preparation, rhythmic flexibility, interpretative coherence, and the quality of rehearsal work – form a solid foundation for performance. At the same time, psychological factors such as trust, empathy, constructive communication, and the ability to overcome stage anxiety together ensure the integrity of the artistic image and transform a technically flawless performance into an emotionally rich artistic act.

THE EXPERIENCE OF COLLABORATION BETWEEN DIRECTOR AND COMPOSER IN CONTEMPORARY UKRAINIAN THEATRE (BASED ON THE EXAMPLE OF MUSIC FOR OKSANA DMITRIEVA’S NEWEST STAGE PRODUCTIONS)

Kateryna PALACHOVA — 2025-12-31

The purpose of the study is to reflect on and systematize the experience of creative interaction between a director and a composer in Ukrainian theatrical art of the 21st century, using the latest productions of Oksana Dmitrieva (2024– 2025) as a case study. The research aims to identify the principles of collaborative development of the musical concept of a performance, as well as to define the role of the composer as a subject of creating sound dramaturgy, who directly participates in forming the semantic and emotional structure of the stage production. The research methodology is based on a comprehensive art history approach. The systemic method allowed for considering the musical solution as an integral component of the theatrical synthesis; the typological method was used to classify sound techniques; the semantic analysis method was applied to reveal the meaningful content of leitmotifs and quotations. A special place in the study is occupied by the method of scientific self-reflection, which allowed for analyzing the experience of collaboration with the director from within the creative process and substantiating the logic behind specific compositional strategies. A significant role is played by the structural-functional analysis method, which helped determine the significance of the author’s musical contribution to the architectonics of the analyzed performances. The scientific novelty of the study lies in the first attempt in Ukrainian art history to theoretically comprehend the experience of collaboration between a director and a composer as an integrated creative strategy within the context of the contemporary theatrical process (2024–2025). Conclusions. As a result of the study, models of interaction between the director and the composer are systematized, where the latter emerges as an active participant in creating the artistic integrity of the performance. It is revealed that the composer’s role consists not only in the sound design of the stage action but also in the development of the deep semantic layers of the performance. The main approaches to organizing the auditory space are identified: from building an immersive «soundscape» to utilizing a leitmotif system. It is proved that systemic cooperation, based on conceptual unity, allows for the creation of multi-layered musical-stage structures that become a tool for comprehending current themes of identity, memory, and personal experience

THE ORIGINS OF RUDIMENTAL DRUMMING IN FRANCE

Leonid PETKUN — 2025-12-31

The article is devoted to the study of the formation and evolution of the French school of rudimental drumming within the context of the development of military music from the late fifteenth to the mid-eighteenth century. The purpose of the article is to trace the historical origins of French drumming practice, to identify the mechanisms of standardization of the drum repertoire, and to outline the role of military ordinances and theoretical sources in the formation of a rudimental system. The research methodology is based primarily on a source-oriented approach, involving the analysis of key primary sources from the sixteenth to the eighteenth centuries, including Orchésographie by Thoinot Arbeau (1589), Harmonie Universelle by Marin Mersenne (1636), the collection of François-André Danican Philidor (1705), as well as the manuals by Joseph-Henri de Bombelles (1754) and Antoine Caro (1756). The historical method is applied to the study of the chronology and periodization of the development of rudimental drumming in France. The comparative method is used to identify common and distinctive features of the analyzed events, phenomena, and artifacts. The scientific novelty of the study lies in a comprehensive interpretation of the French rudimental tradition as the result of an interaction between military practice, dance culture, and theoretical reflection. The French school of rudimental drumming is considered not merely as a collection of individual signals and marches, but as a coherent system of rhythmic formulas and rudiments within which a shared rhythmic lexicon of European military music crystallized. The conclusions demonstrate that the process of unification of drum signals in the French army, particularly during the reign of Louis XIV, was a decisive factor in the transition from local functional rhythms to a standardized rudimental system. It is shown that many rudiments documented in French sources of the seventeenth and eighteenth centuries have been preserved in contemporary international practice. Prospects for further research are associated with a more in-depth analysis of the transformation of French rudiments in other national schools and their influence on modern percussion pedagogy and performance practice.

METHODS OF REDUCING VOCAL FATIGUE: MODERN APPROACHES TO VOICE TRAINING AND RECOVERY

Ivanna P IDHAIETSKA — 2025-12-31

The article is devoted to the analysis of the phenomenon of vocal fatigue as a key factor determining the professional performance and vocal health of modern singers. The relevance of the problem is due to the growing technical and physiological demands placed on performers in the context of intensive stage activity, which leads to increased strain on the vocal apparatus. The purpose of the article is to clarify the mechanisms of vocal fatigue formation and to identify modern scientifically grounded methods for its reduction. The research employs a set of methods, including analysis of scientific sources in vocal pedagogy, phoniatrics, and psychology; generalization of current empirical data on vocal function; and systematization of approaches to technical optimization of singing and voice recovery. Particular attention is paid to the comparative analysis of different methodological groups: technical (vocal economy), physiological (hydration, muscular relaxation), therapeutic (SOVT therapy), and technological (vocal monitoring). The scientific novelty lies in the comprehensive synthesis of contemporary evidence-based methods for reducing vocal fatigue and in substantiating an integrated system of professional vocal hygiene that combines technical, physiological, and technological components. For the first time, emphasis is placed on the importance of integrating the principles of vocal economy, direct mucosal hydration, SOVT therapy, and the «vocal rest» regimen as complementary elements in preventing vocal overuse. The conclusions highlight that vocal fatigue has a complex nature and develops under the influence of technical, physiological, and psychological factors. Effective management is possible only through the systematic use of evidencebased methods for phonation optimization and vocal recovery. The modern approach to reducing vocal fatigue is viewed as a transition from intuitive recommendations to a scientifically grounded system of professional vocal hygiene, ensuring long-term endurance and the preservation of vocal health in singers.

AMATEUR VOCAL ENSEMBLES AS A POPULAR FORM OF MUSIC-MAKING IN CONTEMPORARY FOLK SONG PERFORMANCE

Yelyzaveta ROHOVSKA ROHOVSKA — 2025-12-31

The article is devoted to the study of amateur vocal ensembles as a key, popular, and sustainable form of music-making that ensures the preservation, transformation, and active promotion of folk song heritage in the contemporary Ukrainian cultural space. The aim of the article is to conduct a comprehensive examination of the phenomenon of amateur vocal ensembles as a popular and viable form of music-making that preserves, transforms, and actively promotes folk song heritage in the modern Ukrainian cultural context. The research employed methods of theoretical analysis and synthesis to systematize scholarly publications and identify the main trends in the development of ensemble performance; cultural and historical-typological methods to substantiate the social and identity-forming role of ensembles; as well as the method of system analysis to reveal the interrelations between factors of popularity (national and cultural revival, mobility, modernization) and challenges (staff shortages, financial constraints). The scientific novelty of the obtained results lies in defining the amateur vocal ensemble as a «living archivist» of microtraditions and a key socio-cultural phenomenon that actively utilizes digital transformation and genre hybridization to ensure the continuous evolution of the folk song, as well as in systematizing the factors that contribute to its high social function and popularity under conditions of national challenges. The conclusions demonstrate that amateur vocal ensembles perform a dual function: they preserve the authentic heritage of folklore while adapting it to the needs of contemporary culture, thus remaining an indispensable element of modern folk song performance. Further research should focus on clarifying the role of amateur ensembles in supporting morale and providing cultural therapy in the context of military conflicts.

FEATURES OF THE REFLECTION OF NATIONAL TRAUMA IN MUSIC (GREEK AND UKRAINIAN PARADIGM)

Iryna RIABCHUN — 2025-12-31

The purpose of the study is to investigate reflection of the national traumatic experience in the musical works of Greek and Ukrainian composers. The definition of the concept of “national trauma” is explained as “loss of integrity and non-perception of the new reality at the national level”. Analogies of the reflection of the violation of integrity in the visual and musical arts of the Baroque era are drawn. For comparison, the features of the reproduction in musical works of the period of national trauma, which the Greek people went through in the 20th century, are explained. The works of Mikis Theodorakis, in which the national trauma is most vividly reflected, are analyzed, the reasons for their nationwide popularity are explained. The use of the symbolism of light as the Byzantine equivalent of truth in the song cycle of M. Theodorakis based on the poem by Yiannis Ritsos “Eighteen Hymns about the Bitter Fatherland” is investigated. In the work “Song about the Dead Brother” the use of the genre of funeral singing “paraloges”, which has mythological roots, is revealed. On the example of Ukrainian songs of resistance, music of Mykola Lysenko, Myroslav Skoryk and ballads of Svyatoslav Vakarchuk the regularities of using means of musical expressiveness in reflecting the theme of national resistance are shown. The following methods of research were used: historical, phenomenological, linguistic, psychological, comparative methods and the method of musical analysis. The conclusion is made about the necessity of creating a holistic virtual model of the ethnos by means of art for the regeneration of national trauma. The ways of psychological replacement of lost integrity by appealing to historical experience and religious consciousness of the nation are shown. The possibility is indicated on the basis of transferring the personal “trauma of loss” to the social plane by the method of generalization, ethical reassessment of loss and giving it a sacred meaning.

NEOCLASSIC TRENDS IN THE MUSICAL CULTURE OF FRANCE IN THE LATE 19TH – EARLY 20TH CENTURIES AS MANIFESTATIONS OF NATIONAL MENTALITY

Oleksandr SKLIAROV — 2025-12-31

The article presents the features of the mental traits and general cultural values of the French people, an analysis of their reflection in the musical art of France at the turn of the XIXth–XXth centuries. The objects considered were works by French composers for piano, in which neoclassical tendencies are present. The aim of the study was to identify the features of the manifestation of neoclassical tendencies in the work of French composers of the late XIXth – early XXth centuries through the prism of national mentality. This process is closely related to the characteristic features of the national style and it is these features that are reflected in the musical language and artistic decisions of composers, which forms a characteristic stylistic identity. The research methodology is based on the structural-functional method, which was intended to study the compositional and dramaturgic principles of the works under consideration, and the theoretical basis, which consists of sources of history and theory of musicology. Scientific novelty. Neoclassical trends, which are closely related to the manifestations of national mentality, style and traditions in the work of French composers, although recognized as extremely important, have not yet been integrated into a single theoretical model with a universal method of analysis, therefore, special attention was paid to the definition of the term “French national style” in the work. Conclusions. French musical culture of the late XIXth and early XXth centuries is characterized by an unique combination of preserving national traditions and openness to foreign influences. This ability to organically assimilate allowed French music not only to preserve its originality, but also to become a center of innovation and development. The emergence and use of neoclassical genres became a powerful stimulus for the development of French instrumental music. This made it possible to idealize and use the traditions of the past, creating unique works where different stylistic components coexist. Practical significance neoclassical trends in the work of French composers of the late XIXth and early XXth centuries remain insufficiently researched both in world musicology and in the Ukrainian scientific space. Prospects for further research may include a detailed study of the resource potential of piano art, the features of the transformation of neoclassical ideas in the creative activity of French composers, as well as a comparative analysis of their piano works.

FORMATION OF A PERFORMER’S ARTISTIC THINKING IN THE PROCESS OF MASTERING ACADEMIC SINGING

Viktor CHERNII — 2025-12-31

The article examines the problem of developing students’ artistic thinking in the process of academic singing training as a crucial factor in forming a high level of professional vocal performance skills. The aim of the article is to reveal the essence of artistic thinking, its key mechanisms and stages of development, as well as to identify methodological approaches that contribute to the development of students’ imaginative, emotional, and interpretative thinking. Research methods include the analysis of scientific sources and pedagogical literature, theoretical analysis of the structure and stages of artistic thinking, systematization and description of methodological approaches (associativemetaphorical, actor-director, analytical-synthetic, creative imitation, and problem-based learning methods), as well as generalization of the teacher’s role and the organization of the learning environment in developing students’ creative potential. The scientific novelty of the article lies in the identification of complex mechanisms of artistic thinking in vocal performance, the distinction of sequential stages of its development-from sensory-emotional perception to interpretativecreative level-justification of effective methodological approaches, and highlighting the integration of the teacher’s role, the learning environment, and teaching methods in forming the student’s creative potential. Conclusions indicate that artistic thinking is a key factor in achieving high performance skills and creative autonomy of a vocalist. The development of imaginative, analytical, and interpretative thinking enables students to create an individually expressive artistic image of a musical work. The use of a system of methods for developing artistic thinking and the active role of the teacher transforms academic singing lessons into a creative laboratory, combining technical training with deep emotional and interpretative understanding of music.

THE IMPACT OF RENAISSANCE PROTESTANT ICONOCLASM ON THE DEVELOPMENT OF EUROPEAN ART

Viktoria GOLOVEI — 2025-12-31

The article examines the phenomenon of Protestant iconoclasm in the context of Northern Renaissance culture during the Reformation and analyzes its multifaceted influence on the subsequent development of the theory and practice of visual art. The purpose of the article is to provide a cultural analysis of the impact of the Protestant iconoclastic movement of the Renaissance on the development of European art. Methodology. The methodological framework of the study is based on a hermeneutic approach, which made it possible to interpret the phenomenon of Protestant iconoclasm within the broad historical and cultural context of the Renaissance. The research also employs the historical-logical method, a systemic approach, methods of cultural comparative analysis, and iconographic analysis. Scientific novelty. For the first time, Protestant iconoclasm is examined from a cultural studies perspective as a complex and multifaceted cultural phenomenon. Its diverse influences on the development of European visual art are identified and systematized. Conclusions. The theory and practice of Protestant iconoclasm had a profound impact on the development of artistic culture, contributing to the formation of the theoretical foundations of a modern European understanding of art primarily as a secular and self-sufficient sphere, which significantly accelerated the process of its desacralization. The structure and functional purpose of the visual arts underwent substantial transformations. Having lost its sacred function, religious visual art in Protestant countries gradually declined both quantitatively and qualitatively. At the same time, the emergence and rapid development of genre painting and landscape painting anticipated the future dominance of secular easel painting. This process involved not only the formation of a new modern European iconography but also the emergence of a new model of artistic creativity characterized by a clear subject–object distinction, the individualization and subjectivization of the creative process, and, subsequently, an aniconic tendency that became distinctly manifest later within the framework of modernism.

POST-FOLKLORE AS AN INSTRUMENT FOR THE FORMATION OF NATIONAL IDENTITY

Serhii DUDNIKOV — 2025-12-31

The purpose of the study is to determine the influence of post-folklore on the formation and crystallization of national identity. The research methodology. The study is based on a combination of approaches from folklore studies, cultural studies, and media studies. With this in mind, the theoretical framework consists of concepts of post-folklore as a form of transformation of traditional cultural practices in the modern digital environment and models of collective memory and national identity formation. This approach requires the use of content analysis, visual and semantic analysis in combination with the general principles of hermeneutics. These principles allow us to interpret the semantic and symbolic structures of postfolklore texts and determine their role in the formation and crystallization of national identity. The scientific novelty. The emergence of information and network methods and channels of communication has contributed to the emergence of a qualitatively new and functional form of folk art, which in contemporary intellectual discourse is referred to as “post-folklore”. In contrast to folklore, post-folklore is free from direct orientation towards tradition and is the result of informal daily communication that reflects the current state, emotions, and values of society, thereby satisfying its need for joint creativity and collective understanding of experience. Thanks to this, post-folklore goes beyond purely entertaining online content and becomes an effective tool for implementing national strategies. Conclusions. Classical folklore in the modern world is experiencing a rapid decline due to the destruction of the traditional sociocultural environment that ensured its existence and development. This situation creates a sense of loss of national memory, prompting elites, state institutions, and civic activists to revive “authentic” traditions in the form of fakеlore in urban environments. It retained the outward appearance of folklore works, yet by stripping them of their original meaning, it caused the desacralization, deritualization, and desemantization of the folk tradition, while simultaneously continuing to significantly influence the establishment of nationwide culture and identity. Parallel to fakеlore, which became an artificial preservation of tradition, post-folklore developed, which appears as authentic collective creativity, in the process of which current events are comprehended and common ideals and values are established

THEATRICALIZATION OF THE FASHION-SHOW AS A SEMIOTIC SYSTEM: AN OVERVIEW OF SCIENTIFIC APPROACHES

Yanina ZHUKOVA — 2025-12-31

The article is dedicated to a comprehensive analysis of the phenomenon of theatricalization in contemporary fashionshows through the prism of semiotic theory. The aim of the article is to investigate how the integration of theatralization transforms the fashion-show from a commercial presentation into a multilayered artistic text that generates cultural meanings and intensifies communication. It is argued that theatricalization creates a unique semiosphere (following Y. Lotman) – a closed communicative space where every element functions as a sign within an interconnected system. This system not only presents clothing, footwear, accessories, and jewelry but also constructs narrative, emotional experience, and cultural codes. Based on a synthesis of classical works by R. Barthes on fashion as language and contemporary studies of performance (F. Granata, M. Boucher, C. Evans), the article examines in detail four key semiotic subsystems of the theatricalized fashion-show, which are in constant dialogical interaction. First, scenography as a semiotic field: the show’s space (location, runway architecture, light, sound, color, special effects) is analyzed as a powerful intertextual sign that sets the primary codes for perceiving the collection and forms the event’s mythologeme (A. Rocamora). Second, the model’s body as an active sign-performer: the focus is on the performativity of the body, where gait, facial expressions, plasticity, gesture, and interaction with space serve as non-verbal codes that transmit the character, concept of the collection, and the brand’s socio-cultural positions (A. Goncharova, O. Buvalets). Third, clothing within the context of stage action: it is demonstrated that the theatrical context radically alters the semiotic status of clothing, allowing it to be used as a hyperbolized, grotesque, or metaphorical sign to express an artistic, social, or political idea, moving far beyond its utilitarian function (O. Medvid). Fourth, the spectator as a participant in semiosis: the fashion-show is considered a ritual and interactive practice where the audience, being involved in the action through mechanisms of invitation, immersiveness, and direct communication, becomes a co-author of the meaning-making process, and the event itself functions as a tool for legitimizing the brand and forming a community (J. Entwistle). The article concludes that theatricalization is a powerful tool for semiotic enhancement and complication of communication. It multiplies the codes for “reading,” activates intertextual connections with creative industries and the relevant sociocultural context, and transforms communication into an emotionally charged ritual. Thus, the fashion-show establishes itself not merely as a format for presenting clothing, footwear, accessories, and jewelry, but as an independent synthetic form of contemporary culture, which actively produces relevant meanings, cultural images, and identities. The research is based on a critical analysis and synthesis of scholarly works by Ukrainian (O. Buvalets, L. Shevchenko, O. Medvid, A. Goncharova) and international authors, ensuring a comprehensive view of the phenomenon. The scientific novelty of the work lies in the systematic unification of semiotic and performative paradigms for the analysis of the fashion-show, as well as in identifying gaps for future research, particularly regarding the influence of digital formats and neuroscientific aspects of perceiving the theatricalized fashion-show. The scientific novelty of the work lies in the comprehensive semiotic analysis of the theatricalization of the fashion-show, which is for the first time considered as an integral communicative system with four interconnected subsystems. The article synthesizes international and domestic sources, and also identifies gaps for further research in the field of digital and comparative semiotics of fashion-show.

REPRESENTATION OF J. HUIZINGA’S PLAY-CONCEPT OF CULTURE IN THE PLOT COMPOSITION OF FILMS DEDICATED TO MASSIVELY MULTIPLAYER ONLINE ROLE-PLAYING GAMES

Oleksandr KOZORIZ — 2025-12-31

The article examines the manifestation of the play concept of culture, formulated by the Dutch historian and culturologist J. Huizinga, in contemporary cinematic narratives dedicated to the phenomenon of massively multiplayer online roleplaying games (MMORPGs). The aim of the research is to determine how J. Huizinga’s play concept of culture is represented in the plots of 21st Century films that interpret MMORPGs as a sociocultural phenomenon. Methodology. The research applied cultural studies’, systemic and comparative approaches, as well as the content analysis method, which made it possible to reveal how in the films «Ready Player One» (2018), «Jumanji: Welcome to the Jungle» (2017), «Jumanji: The Next Level» (2019) and «Free Guy» (2021) MMORPGs transcend the entertainment function, acquiring the characteristics of a communicative space that reproduces values, behavioral patterns and ethical orientations of modern global culture. The scientific novelty of the study lies in the comprehensive interpretation of cinematic representations of MMORPGs through the prism of J. Huizinga’s cultural studies’ theory, which made it possible to consider play as a universal model of social interaction and a metaphor of human existence in the context of media culture. Special attention is paid to the dichotomy «fair play – false play» as a key category of the Dutch historian’s theory. Conclusions. The play concept of culture represented in films about MMORPGs demonstrates the transformation of perceptions about play – from a leisure activity to a form of cultural self-expression and communication. Cinematic imagery emphasize the humanistic potential of play, its capability to unite, teach and recreate the moral foundations of human coexistence. It has been found that fair play emerges as a space of voluntariness, equality, solidarity and creative self-expression, while false play is associated with manipulation, the desire for power and the destruction of the harmony of the play world. This opposition reveals a deeper humanistic dimension of play, which expresses the struggle between the authenticity of human experience and the technological challenges of the digital age

«PROXEMIC IDEOLOGIES»: ROLAND BARTHES AT THE COLLÈGE DE FRANCE

Vadym MIROSHNYCHENKO — 2025-12-31

The purpose of the article is to examine the intersection of proxemics (proxémie), ideology, and the ideosphere in the lecture courses delivered by Roland Barthes at the Collège de France, while providing a theoretical explication of the concept of «proxemic ideologies». Methodology. The methodological framework of the study is based on an interdisciplinary approach that combines semiotic interpretation and hermeneutic reading of selected lectures by Roland Barthes, alongside the analysis of neologisms. At the same time, the investigation of the outlined problem relies on Jacques Derrida’s deconstruction, which makes it possible to identify meanings embedded within structures and to articulate them across other fields of research. Scientific novelty. The scientific novelty of the study lies in the introduction and conceptual delineation of the notion of «proxemic ideologies», which cannot be reduced either to classical conceptions of ideology or to normative models of proxemic space. «Proxemic ideologies» are positioned as phantasmatic, affective and unstable configurations of the ideosphere that exist within a zone of interference between the practice of everyday life and linguistic structures, shaped by mobile affects, phantasms, and distances. Conclusions. The article demonstrates that in Roland Barthes’s lecture courses, proxemics, ideology, and the ideosphere are situated in a dynamic and mutually determining relationship. «Proxemic ideologies» constitute specific formations of ideological experience that function within the micro-spaces of everyday life while simultaneously extending into socio-political and cultural processes. They are not evaluated as purely negative or positive phenomena; rather, they operate as affective safeguards that enable the subject (the individual) to oscillate between proximity and distance, normativity and deviation, sociality and solitude. Prospects for further research on «proxemic ideologies» as an analytical tool for contemporary cultural practices include, in particular, experiences of war, artistic and literary works, modifications of the body, corporeality and materiality, as well as doxologemes and mythologemes of forms of living together and living apart.

VIRTUAL TOUR AS A MEDIA-CULTURAL FACTOR IN FORMING THE TOURIST ATTRACTIVENESS OF A REGION

Artur OPEIDA — 2025-12-31

Currently, virtual tours are an important element of media culture, which encompasses forms of production, transmission and perception of cultural information in the digital environment. In the context of the tourism industry, virtual tours serve as a tool of media influence, which contributes to the formation of a positive image of the territory, the popularization of its cultural resources and the strengthening of the tourist brand. The purpose of the article is to highlight the virtual tour as a modern media and cultural tool for shaping the tourist attractiveness of a region, its positive image, and even the branding of a tourist destination. The research methodology is based on an interdisciplinary strategy of sociocultural analytics, which includes the analysis of theoretical approaches to media culture, the virtualization of communicative practices, as well as the synthesis of cultural, tourism, historical, and sociological approaches. The scientific novelty lies in the comprehensive analysis of the virtual tour as a media-cultural factor that influences the formation of the tourist attractiveness of the region, through a positive image to the formation of the branding of the tourist destination. Conclusions. Based on the analysis of theoretical approaches to media culture and virtualization of communicative and tourist practices, the mechanisms of influence of VR and 3D technologies on the representation of space, the formation of the image of the territory, and the construction of tourist experience are revealed. The key media and cultural functions of virtual tours have been identified, including representational, communicative, educational, identification, and gamification. Their significance for the branding of territories and the development of digital tourism infrastructure is analyzed. The benefits of using virtual tours in regional marketing, image strategies, and tourism promotion have been proven. The role of virtual reality in increasing the competitiveness of tourist destinations is substantiated. The prospects for using VR and 3D technologies and personalization in virtual tours are outlined. Recommendations are proposed for integrating virtual tours into regional cultural and tourism development strategies

MUSIC ECOLOGY AS A MODEL FOR UNDERSTANDING THE SOUND ENVIRONMENT OF CULTURE

Nataliia POPOVA — 2025-12-31

The article is devoted to understanding the phenomenon of musical ecology in the context of contemporary humanities research, in particular acoustic ecology, sound studies, and eco-musicology. It examines the evolution of the concept of “ecology” from a biological term to an interdisciplinary category describing the qualitative state of cultural, spiritual, and sound processes. Particular attention is paid to the role of music and the sound environment as factors in the formation of human ecological consciousness in the technologically saturated acoustic space of the 20th and 21st centuries. The purpose of the article is to systematize the main theoretical approaches to musical ecology and acoustic ecology, as well as to identify their significance for the analysis of contemporary cultural and musical practices. The article considers the work of foreign researchers A. S. Allen, W. K. Archer, S. Feld, M. A. Harley, R. M. Schaefer, J. T. Titon, B. Keogh,
and I. Collinson, as well as domestic scholars M. Romanyshyn and O. Chepelik. The methodological basis of the study
is an interdisciplinary approach that combines musicological analysis, cultural and philosophical reflection, sound
studies, and eco-criticism. The work uses historical-theoretical, comparative, and systematic methods that allow us to
consider musical culture as a dynamic ecosystem. The scientific novelty lies in the conceptual generalization of foreign
and domestic approaches to musical ecology and in the emphasis on the soundscape as a key element in the formation
of ecological consciousness in contemporary culture. It is proposed to treat music not only as an artistic phenomenon, but
also as an ecological factor capable of influencing the psycho-emotional and spiritual state of a person. The conclusions
emphasize that musical ecology is an important direction in contemporary musicology, opening up new perspectives
for researching the interaction between humans, sound, and the environment. Music is considered a powerful carrier
of spiritual values and a means of harmonizing the sound space, which highlights the need for further interdisciplinary
research in this field

FEATURES OF ANTITHETIC MAKEUP IN ACTING PRACTICE (ON THE EXAMPLE OF T. BURTON’S FILM “EDWARD SCISSORHANDS”)

Oleksandra PROSKURYAKOVA — 2025-12-31

To reveal the role of make-up art in stage and cinematic images in situations when make-up is performed in an antimimetic manner, that is, as a means of creating semantic contradiction (using the example of T. Burton’s film “Edward Scissorhands”), and also to outline the acting challenges associated with visual inconsistency. Methodology. Given the interdisciplinary nature of the problem, the study is based on the junction of individual components from the methodology of cultural studies and art history. Cultural understanding (which dominates the work) is carried out through the understanding of semiotic and aesthetic constructions of signs and symbols, and also takes into account the activity aspect, which involves understanding this process in the system of clarifying the creativity of makeup artists. At the same time, hermeneutic analysis is used, focusing on issues that encompass the interpretation of the meanings of makeup art artifacts. The scientific novelty lies in highlighting the visual component of cinema as a means of dramatic “deception”, which is able to enhance the impression on the viewer, create dissonances of perception and encourage a deeper understanding of the dramatic plot. The work also analyzes acting challenges, when the visual inconsistency between the character and his inner essence becomes an additional “obstacle” to actual reincarnation and involves the actor’s complex work on his own role. This publication offers a look at the actor “in a mask”, both literal and metaphorical – its perception and emotional state. Conclusions. The work reveals the role of makeup as an antiillustrative tool, where the visual image does not correspond to the inner content of the character. The main motives of this construct are clarified, where antithetical makeup is considered as an artistic technique aimed at critical perception of the image, distancing from literal reading, which becomes an additional stimulus for turning to cultural codes, ideas and meanings. It is established that cognitive dissonance increases emotional involvement and forces to rethink stereotypes regarding the ratio of the internal and external components of the image. It is proven that this artistic strategy involves certain challenges for the director and the performer of the role. The nature of a possible solution to the above strategies is presented on the example of T. Burton’s cult film “Edward Scissorhands” (chief makeup artist Vee Neill, performer of the main role Johnny Depp, 1990). Thus, the study of such complex visual constructions through the prism of cultural studies and art history allows us to understand how the artistic techniques of constructed images influence the perception of ideas, values, and socio-cultural narratives.

FROM SUFFERING TO RESILIENCE: CHILDREN’S CHARACTERS IN WAR FILMS AND ACTION FILM AS A REFLECTION OF SURVIVAL STRATEGIES

Svitlana RYBALKO — 2025-12-31

The article addresses the problem of the evolution and typology of child representations in global war cinema within the framework of survival strategies. The aim of the study is to analyze the evolutionary development of the depiction of child characters in world war and action cinema, to systematize their typological models, and to identify the sociocultural factors that have determined specific imagological modes of representation. The research methodology is based on a combination of systematization, typological, comparative, imagological, and content analysis methods. The scientific novelty. The relevance of this work lies in the fact that for the first time in the Ukrainian academic discourse it highlights the connection between artistic imagery in the depiction of children’s characters in war films and action films, sociocultural conditions during the creation of specific films and psychological mechanisms of adaptation of these same heroes in combat conditions in order to identify the necessary survival strategies. Understanding such an approach allows us to take a new look at the role of world cinema in shaping the perception of war over the past decades, starting from the middle of the 20th century to the present, as a complex and multidimensional phenomenon that goes beyond traditional battle narratives and reflects precisely the humanitarian and humanistic issues of children’s participation in armed conflicts. Conclusions. It is argued that cinema reveals an evolutionary diversity of child images: from passive suffering to active resilience; from isolation to adaptation or collective resistance. Child representations in cinema trace a trajectory from collective trauma to individual renewal, emphasizing the cost of war for the younger generation. It is demonstrated that the child character functions as a powerful metonymy of national trauma, an instrument of critique of the adult world, and a symbol of hope for reconstruction. Thus, the child in war cinema is not merely an artistic device but also a universal bearer of cultural memory, shaping awareness of the value of peace and the necessity of safeguarding humanity.

HISTORIOGRAPHY AND METHODOLOGICAL APPROACHES TO THE STUDY OF THE UKRAINIAN ART MARKET

Anastasiia TORMAKHOVA — 2025-12-31

The article aims to systematize and critically analyse historiographical and methodological approaches to the study of the Ukrainian art market as a cultural and economic phenomenon shaped by post-Soviet and globalization transformations. The research focuses on tracing the evolution of academic perspectives – from art historical and cultural to economic – in order to outline a theoretical framework for a comprehensive understanding of the structure and dynamics of Ukraine’s art market. Methodology. The study applies an interdisciplinary methodological framework that combines historical-cultural, sociological, economic, and comparative approaches. The principles of historicism, systemic analysis, and structural-functional interpretation are employed to reconstruct the evolution of the Ukrainian art market from the post-Soviet institutional crisis to its gradual integration into the global cultural sphere. Methods of content analysis, typologisation, and historiographical synthesis are used to generalize key scholarly contributions (S. Davymyka, T. Mironova, N. Pavlichenko, I. Abramovych, M. Besaha, among others). Scientific novelty. The article offers the first systematic classification of existing Ukrainian studies on the art market and identifies four leading methodological paradigms: economic, sociological, cultural, and managerial-technological. It substantiates the need for an integrated methodological synthesis that would allow the construction of a coherent theoretical model of the art market within the paradigm of cultural economy and postcolonial modernization. Conclusions. The Ukrainian art market is defined as a complex sociocultural system where material (economic) and symbolic (value, identity-based) dimensions intersect. The research reveals a gradual process of institutionalization through the interaction of public and private initiatives, the expansion of international cooperation, and the growing role of digital technologies. Further studies should aim to develop a unified methodological framework for analysing the Ukrainian art market within the context of global art market studies and cultural economics.

THE SPECIFICS OF UKRAINIAN NATIONAL MENTALITY

Оlena YAKYMCHUK — 2025-12-31

The study of Ukrainian mentality has paramount philosophical, ideological and scientific significance. It is important for finding practical solvation of current geopolitical and cultural problems, and it has theoretical significance for humanities. The purpose of the research is to identify universal and specific features of Ukrainian mentality in historical, geopolitical, socio-psychological and cultural contexts. Methodology. The article uses an interdisciplinary, comparative, culturological approaches. Scientific novelty. The authors propose to consider the peculiarities of the Ukrainian national mentality through the prism of a realistic and moderately nominalistic worldview philosophical paradigm. the Realist and the moderately Nominalist methodology do not contradict each other, and both can be used in studying Ukrainian mentality as a complex, multi-level, heterogeneous phenomenon, in which, along with monovalent dimensions, features of ambivalence and polyvalence are manifested. Conclusion. Studies of Ukrainian mentality mostly occur within the philosophical paradigm, which the authors call Realist. It means conceptualising the common features of Ukrainians’ mentality, inherent in the nation as a whole. Along with the said Realist approach, a form of Nominalist approach is developing, which emphasizes the specifics of the mentality of individual ethnic groups. Both approaches do not contradict each other, because Ukrainian mentality is a complex, multi-level, heterogeneous phenomenon. The mentality of Ukrainian people and its ethnic groups was formed in the natural-geographical, geopolitical, socio-psychological and cultural context. Each historical era formed its special features. In particular, cordocentrism is a feature of the Baroque era. In the era of Romanticism, the emotionality and subjectivism of the Ukrainian worldview were manifested. In the process of transmission from generation to generation, the mentality of Ukrainians undergoes changes, and therefore it requires both diachronic and synchronic analysis

THE INFLUENCE OF CARICATURE ON SOCIO-POLITICAL DISCOURSE IN EUROPEAN ART

Svitlana DOLESKO — 2025-12-31

The phenomenon of art lies in the fact that, in the overwhelming majority of cases, it represents a reaction to events occurring in various spheres of human life, and the peculiarity of satirical caricature is that this reaction is almost immediate and significant in the social and political context. The purpose of the article is to examine the influence of caricature on the formation of socio-political discourse and the development of European art. The methodological basis of the research is the application of historical and comprehensive methods, relying on objectivity, systematicity, and historicism. Results. The article considers the influence of caricature on socio-political sentiments in European countries throughout the eighteenth to twenty-first centuries. The works of Ukrainian caricature artists published in the magazines Shershen, Khrin, Zabiyaka, Osa, Ukrainskyi Perets, Povstanske Kropylo, as well as works of foreign artists (William Hogarth, Eugene Delacroix, Paweł Kuczyński, Gunduz Aghayev, etc.) are analyzed. The conducted research demonstrates that caricature is one of the vectors shaping not only the direction but also the tonality of the sociopolitical discourse of European art, since caricature instantly reflects the socio-political sentiments of society and is one of the tools that shape these sentiments within the social environment. Thus, it has been shown that caricature is fully capable of directly influencing the course chosen by society and its further development. The scientific novelty lies in the fact that, for the first time in Ukrainian art studies, attention is drawn to the socio-political component of caricature art against the general artistic background during the russian-Ukrainian war. The practical significance of the article lies in its motivational component, as the appearance of a research work in the academic environment devoted to the study of caricature in the context of its reaction and impact on the events in society may serve as an incentive for further research in this direction.

A COMPARATIVE ANALYSIS OF GEOMETRIC ABSTRACTIONISM, GEOMETRIC ORNAMENT, AND DESIGN

Ihor DUTSIAK — 2025-12-31

The purpose of the research is to clarify the boundaries between painting, decorative and applied arts, and design. The need to clarify this issue began to grow in the late 19th century with the emergence of various avant-garde artistic movements. This led to a gradual narrowing of the distinctions between works of decorative art and so-called «pure» art. Clarifying the boundaries between these artistic forms has both practical and theoretical significance for each of these fields. Research methods. To obtain the desired knowledge, a comparison was made not of all genres, styles, and areas of activity within these fields, but of those in which they overlap. Specifically, the comparison included geometric abstractionism (in painting), geometric ornament as a form of decoration (in decorative and applied arts), and interior design (the visual surface design in this type of design can coincide with both works of geometric abstractionism and examples of geometric ornament). One of the fundamental observations used in the analysis of the problem under study is the instances in which the visual form of paintings is identical to that of decorative and applied art and, at the same time, to the projects created by the designer. Scientific novelty. In analyzing the problem under study, the following understanding of art was substantiated: a work of art is an object that is an image of another object and evokes positive or negative emotions in a person (if a phenomenon evokes emotions, then its image evokes the same emotions, called aesthetic). It is substantiated that geometric abstractionism reproduces the geometric features of the human cultural environment. It is also substantiated that painting belongs to applied art. Conclusions: 1) geometric abstractionism should not be classified as non-objective art: the imagery of a compilation of geometric forms reproduces the geometrically rich environment of human material culture; 2) it is inappropriate to separate paintings from works of decorative and applied art, since paintings are also intended to aesthetically decorate objects (rooms)

THE ROLE OF PRIVATE INSTITUTIONS IN UKRAINE IN PRESERVING AND PROMOTING TANGIBLE CULTURAL HERITAGE

KERSHYS Oleg — 2025-12-31

The period of 2022–2025, as part of the historical trajectory of Ukrainian’s struggle for their free future, demonstrated the cohesion of state and international structures, as well as initiatives of the business sector in the preservation and promotion of tangible cultural heritage – historical, architectural, archaeological, museum and library, fine art, decorative, and other forms. Private institutions that existed before the war and those newly established after February 24, 2022 are reviving the tradition of patronage and philanthropy, thereby conveying to society that Ukrainian culture not only possesses timeless relevance but also influences the course of history at the national and international levels. The need to analyze this process determined the purpose of the article – to examine the activities of private cultural, artistic, and business institutions of Ukraine focused on preserving and promoting tangible cultural heritage after the outbreak of the full-scale Russian-Ukrainian war. Methodology. The research employs analysis and synthesis, which made it possible to explore the mission, specific areas of operation, and projects of private institutions in the fields of culture, art, and business. Content analysis was also used for this purpose. Methods of systematizing materials and logical generalization facilitated the interpretation of research findings. An interdisciplinary approach provided the research with appropriate scope, taking into account the activities of private institutions within such a sphere of public engagement as cultural heritage preservation. Scientific novelty. This research systematically presents, for the first time in academic discourse, the most significant initiatives implemented during the period of full-scale invasion by such private institutions as the Center of Ukrainian Culture and Arts, Dovgiy Family Office, Charitable Foundation MHP-Gromadi, Lviv House of Arts, and Mercury Art Center, whose mission is to support national tangible cultural heritage. Conclusions. Based on the analysis of projects of private institutions in Ukraine that support cultural and artistic organizations and open new art institutions during 2022-2025, it is shown that these efforts to support artistic projects and launch new centers of culture and art are systematic and oriented towards strengthening the resilience of the Ukrainian nation, serving as a means of national identification and tools for developing a new art space

ART PRACTICES IN DESIGN AS A FACTOR IN THE FORMATION OF VISUAL CULTURE

Vadym KOZIK — 2025-12-31

Purpose: to determine the role of art practices in design as a key factor in shaping the visual culture of future designers and to clarify the significance of drawing and painting as fundamental means of developing imaginative, compositional, and analytical thinking in the professional training of design specialists. The study also emphasizes the pedagogical potential of artistic disciplines as the basis for developing visual literacy, spatial imagination, aesthetic sensitivity, and the ability to consciously analyze design solutions. Methodology: the research is based on a comprehensive approach that combines art historical analysis, pedagogical generalization methods, comparative analysis of traditional and contemporary art practices in design education, and systemic analysis of the role of artistic disciplines in shaping visual culture. The study employs theoretical analysis of scholarly publications on art and design education, generalization of teaching experience in drawing and painting within designer training, and observation of transformations in the educational process under the conditions of digitalization, development of creative industries, and project-oriented learning. Scientific novelty: lies in interpreting art practices in design as an integrative educational phenomenon that forms designers’ visual culture through the synthesis of academic artistic tradition and contemporary project-based approaches. The expediency of considering drawing and painting not as auxiliary disciplines but as universal tools of visual cognition is substantiated. These tools ensure a deep understanding of form, colour, composition, material, and light– shadow relationships, contribute to the formation of an individual authorial style and project language. It is proven that the systematic use of art practices in design education increases the level of visual thinking, creativity, and professional identity of future designers. Conclusions: it is established that art practices in design play a decisive role in shaping visual culture as a set of professional skills, aesthetic values, and modes of visual thinking. Drawing and painting form the foundation of design education by developing observation, visual logic, spatial imagination, and the ability to artistically interpret design ideas. The integration of art practices into modern educational processes contributes to the training of designers capable of combining artistic intuition with project logic and meeting the requirements of contemporary visual culture and creative industries.

THE WAYS OF STILL LIFE DEVELOPMENT IN CHINA DURING THE FIRST HALF OF THE TWENTIETH CENTURY

Andrii KORNIEV — 2025-12-31

The article examines still life as an independent genre of Chinese painting. The research focuses on the first half of the twentieth century – a period of profound transformation in both the socio-political and artistic life of China. The aim of the study is to identify the main trends in the development of still life as a genre-thematic domain of Chinese painting during the first half of the twentieth century. Methodology. The research methodology combines general scientific and specialized approaches, including systematization, typologization, formal-stylistic, comparative, and semantic analyses. Scientific novelty. For the first time, this study highlights the diversity of artistic movements and the creative achievements of artists of the first half of the twentieth century within the context of still life as a pictorial genre. Research results. The article reveals the key tendencies in the conceptualization of still life among representatives of various movements, aesthetic concepts, and schools of thought. It establishes that the aesthetic range of still life interpretation encompassed both traditional methods and imagery, as well as innovative approaches. The aspiration to renew the pictorial language of painting fostered the adoption of Western artistic principles in the treatment of still life – such as chiaroscuro, three-dimensional spatial construction, and the depiction of material texture – which found expression within the traditional “New Year’s greetings” model. The introduction of Western academic art education further stimulated the development of still life as a genre not restricted by conventional thematic frameworks. Practical significance. The findings, observations, and visual materials presented in the article significantly enhance the general understanding of the evolution of Chinese art and may serve as valuable resources in academic, educational, and creative contexts.

MATERIAL AND MEDIA NARRATIVITY IN UKRAINIAN INSTALLATIONS OF THE 1990S–2020S: FEATURES OF THE UNFOLDING OF ARTISTIC NARRATIVE

Emil MAMEDOV — 2025-12-31

The article examines the specifics of the formation and unfolding of narrative in Ukrainian installations of the 1990s–2020s from the perspective of contemporary art theory. It is emphasized that the problem of narrativity in the context of installation has not previously been the subject of a separate systematic study, which determines the relevance of this research. The purpose of the study is to identify the differences between material (object-based) and media narrativity, as well as to analyze how the type of materiality influences the construction of plot, the spatial structure, and the role of the viewer. The research methodology is based on an interdisciplinary approach that combines methods of art-historical analysis and narratological analysis. The study includes a formal and compositional analysis of installations and a comparative analysis of material and media-based modes of narrative unfolding. The scientific novelty of the research lies in the synthesis of approaches developed by classical narratologists (M. Bal, G. Prince, R. Barthes) and scholars of installation art (C. Bishop, R. Krauss, J. Crary), on the basis of which the concept of narrative installation is formulated as a spatial and medial structure in which an event unfolds through the interaction of objects, media, and perception. Key criteria for evaluating narrative installations are identified: plot, temporality, type of focalization, materiality/mediality, the role of the viewer, and spatial architectonics.The research section analyzes three material installations (V. Tsagolov, the R.E.P. group, Zh. Kadyrova) and three media installations (O. Chepelyk, M. Shalennyi, O. Vereshchak – M. Zinets). It is demonstrated that in material installations the narrative is constructed through objects and spatial architectonics, where the event appears as a trace from which the viewer reconstructs the plot. In media installations, the event is formed in a processual, temporal format through video imagery, montage, and sound; here the viewer does not reconstruct but experiences the narrative. Conclusions. It is concluded that the fundamental difference between the two types of installations lies in the mode of event representation: material installations model the event as a result, whereas media installations present the event as a process. The study emphasizes that Ukrainian installations of the 1990s–2020s combine documentary qualities, social critique, spatial direction, and multimedia practices, which determine the distinctive character of their narrativity. The results obtained provide a foundation for further research into the interaction between narrative structures and artistic media in contemporary visual culture.

PARAJANOV’S VISUAL POETRY. EXPERIENCE OF INTERMEDIAL ANALYSIS OF THE «ORPHEUS» COLLAGE

Volodymyr TARASOV TARASOV — 2025-12-31

The study is aimed at reconstructing the artistic algorithm and semiotic structure of Sergei Parajanov’s «Orpheus» collage, which originates from the private Grynyov Art Collection. The author considers this work as a specific form of a «compressed film», seeking to prove that the artist’s collage practice is not a random decorative improvisation. The primary goal is to identify the mechanisms of directorial thinking that integrate various cultural codes and temporal layers into a unified cinematic integrity, as well as to legitimize the collage as the genetic code of the unfilmed movie «Confession». Methodology. The paper presents original collage analysis methods based on the convergence of intermedial optics. The research is structured according to three levels: semantic (decoding of symbols), morphological (compositional chiasmus), and transit (scenographic logic). Iconological reduction methods were used to identify borrowed fragments of works by E. Barlach, F. Snyders, and Y. Alexandrov. Scientific Novelty. For the first time, a comprehensive reconstruction of the «Orpheus» collage has been carried out, as a result of which the sources of all its visual components have been established. The status of conceptual photography in the structure of the collage is substantiated: photographic inserts (fragments of sculptures and architectural models) are interpreted as documentary quotes from existence that legitimize the conventional space of the collage as a future screen reality. It is proved that Parajanov uses photography as a marker of the objective reality of cinema, contrasting it with painterly subjectivity. It is established that the figure of Amphion-Orpheus is the intersection point of the master’s biographical and mythological narratives. Conclusions. The research confirms that the «Orpheus» collage functions according to the laws of a cinematic synopsis. The revealed compositional chiasmus between the stasis of the monochrome mask and the dynamics of the falling vase creates the effect of a «frozen» frame, ready to unfold in time. The analysis showed that the symbolic inversion of color and texture allows the work to be viewed as an autobiographical manifesto. The proposed collage analysis methods allow perceiving Parajanov’s legacy not as a set of intuitive sketches, but as a holistic system of directorial design, where each object-sign performs a clear dramaturgical role.

CARE AS A CATEGORY OF THE AESTHETICS OF CONTEMPORARY DESIGN

Maxim FEDOSENKO — 2025-12-31

The aim of the study is to conceptualize the phenomenon of care as a category of contemporary design aesthetics through the analysis of the concept of aesthetics of care, which has emerged in global humanities scholarship as a new approach to understanding the role of design in human life. The research seeks to identify the transformation of care from a purely ethical notion into an aesthetic and communicative principle of contemporary design that shapes form-making, color schemes, materiality, and the spatial organization of the designed environment. Particular attention is given to examining care as a design response within post-industrial culture to excessive technologization, visual noise, and users’ emotional exhaustion. Methodology. The methodological framework of the study is based on an interdisciplinary approach that combines aesthetic, philosophical, psychological, and design-analytical methods. The research includes an analysis of visual and formal means of representing care – such as soft lines, natural color palettes, tactile materials, and harmonious proportions – as carriers of empathic meanings in design. A comparative analysis is applied to examine examples of the implementation of the principle of care in contemporary interior and product design solutions within Scandinavian, Japanese, and Ukrainian design schools. The method of generalization is used to systematize data on the influence of humanistic and human-centered approaches on the formation of a new ethics of the designed environment. Analytical results are obtained through the interpretation of empirical and theoretical materials, which makes it possible to identify the impact of the principles of the aesthetics of care on the formation of feelings of safety, comfort, trust, warmth, and emotional support among users, as well as to substantiate their role in harmonizing human–environment interaction, enhancing psychological well-being, and promoting social integration. Scientific novelty. Scientific novelty of the study lies in the comprehensive understanding of care as an independent category of contemporary design aesthetics, rather than merely an ethical or social imperative. For the first time in Ukrainian academic discourse, the concept of aesthetics of care is systematically analyzed as an aesthetic and communicative principle that directly influences form-making, color schemes, material texture, and the spatial organization of the designed environment. A cross-cultural model for interpreting the aesthetics of care is proposed based on Scandinavian, Japanese, and Ukrainian design practices, which makes it possible to identify both universal patterns of implementing care and culturally conditioned differences in its visual and formal embodiment. The study substantiates that care in contemporary design functions as a multi-level aesthetic mechanism capable of shaping users’ psychological well-being, emotional support, and social integration, thereby expanding traditional notions of design aesthetics within the context of post-industrial culture. Practical significance of the study lies in the possibility of applying its results by designers, architects, and professionals in the fields of interior and product design to create comfortable, empathic, and humancentered environments. Conclusions. The study establishes that care in contemporary design emerges as a complex category integrating aesthetic, functional, and communicative aspects of the designed environment. The concept of aesthetics of care extends beyond moral and ethical imperatives and is transformed into a practical principle of form-making, color solutions, material texture, and spatial organization of design objects. This approach demonstrates the capacity of design to shape the emotional and psychological context of user–environment interaction by providing a sense of safety, comfort, and support. It is revealed that the aesthetics of care contributes to psychological comfort, the formation of trust and emotional warmth, and reduces stress levels characteristic of post-industrial environments. Soft lines, natural color palettes, tactile materials, and harmonious proportions act as carriers of empathic meanings and foster a human-centered perception of space. Thus, the aesthetics of care functions as a multi-level mechanism that takes into account not only the external characteristics of design objects but also their impact on the user’s emotional state

ARTIFICIAL INTELLIGENCE IN VISUALIZATIONS OF WORKS AMVROSIY ZHDAKHА IN 1919

Olga SHKOLNA — 2025-12-31

The legacy of Amvrosy Zhdakha (1885, Izmail – 1927, Odesa) of the late 19th – early 20th centuries is extremely diverse. The master belonged to the cohort of universal artists of the modern era and, at the same time, from 1908–1910 he worked in the stream of proto-design, ahead of industrial and environmental designers in his bold projects for the development of interiors, furniture, ceramic stoves, and dishes, whose cohort came to European art centers approximately with the beginnings of the trends of Bauhaus functionalism, Boychukism, Constructivism, and Art Deco. Currently, the work of Amvrosy Zhdakha of the design direction is stored in the collection of the V. G. Zabolotny State Scientific Architectural and Civil Engineering Library in Kyiv. A particularly significant part of it is the author’s sketches of interior and furniture designs, screens, tiled piets, and shapes of ceramic and fine ceramic dishes from 1919. 28 of them were visualized using artificial intelligence and presented by user Anton Pronenko on December 31, 2025 on the Facebook social network in the post “Visualization of furniture by Ukrainian designer Amvrosy Zhdakha”. Considering that until recently, the artistic heritage of this extraordinary author was primarily studied by his series of book illustrations, in particular, drawings for the Gospel, Taras Shevchenko’s “Kobzar”, and covers of a number of publications by Ukrainian writers, the researchers first examined materials from the artist’s work, which he prepared for the first educational course in the national tradition, “History of Ukrainian Art”. Namely, preparatory drawings for his own series «Picturesque Ukraine» (the history of the ancient inhabitants of our country based on archaeological excavations, Ukrainian types, kleynods, ethnographic studies of Easter eggs, weapons, armor, clothing, dishes of representatives of different social strata of the population). In contrast, the creative heritage of Amvrosiy Zhdakha had not previously been studied from the point of view of developing interior design projects, furniture, dishes, but only as a draftsman (he worked for several decades as a specialist in this area in one of the Odesa banks).

BOTANICAL SCULPTURE RELIEF: ART AND PEDAGOGICAL PRACTICE

Tetiana SHTYKALO — 2025-12-31

This publication examines botanical relief as a new trend in sculptural art and a means of creative expression for the artist, and also considers the prospects for using this form of relief art in the educational process. The object of research is the art of botanical reliefs. The subject of the study is the specificity of work on botanical reliefs in the artistic and creative practice of the sculptor and the integration of this creativity into the educational and educational process. In the article, the approach to the analysis of botanical reliefs is conditionally divided into two different directions. The first direction is the study of botanical sculptural reliefs as an artistic technique and works of art obtained in the process of implementing this technique. In particular, on the example of the work of such artists as Rachel Dein, Katy Eccles and Tatiana Shtykalo, it is demonstrated how casts of floral objects acquired artistic significance and became a relevant artistic practice for expressing various ideas, concepts and emotions through relief compositions of natural objects. The second direction is a variety of pedagogical and methodical developments for the inclusion of botanical reliefs in the education system. A number of options for integrating sculptural botanical reliefs into pedagogical practice are presented: from the actual creation of such a relief with students, to their use for educational, educational, and educational purposes. The topicality of the topic of the article is due to the novelty of the researched form of creativity in the context of modern art. Botanical relief is a new art form that is just beginning to gain recognition and popularity. This direction of creativity has the potential to become an important element of the modern cultural environment, as an example of the cooperation of man and nature in creating something unique. The uniqueness of such botanical compositions lies in the combination of the aesthetic appeal of natural objects with the classic sculptural technology of creating reliefs. In the process of research, it is established that botanical reliefs can not only be valuable objects of art, but also perform a number of pedagogical functions, contributing to the study of the plant world. This not only enriches the aesthetic experience, but also develops the ecological culture of the younger generation. This approach can be especially useful in educational institutions, because the creation of botanical reliefs stimulates interest in natural history and creative selfexpression through natural objects, which does not require many years of studying complex sculptural techniques. Using the example of the education of the studied female artists, it is shown how exactly it is possible to implement educational and even inclusive projects from botanical reliefs. Therefore, the research and development of botanical sculptural relief is an important direction both for the artistic community and for the pedagogical direction. The development of theoretical works in this field is a necessary step to enrich our understanding and this new form of sculptural art.