Fine Art and Culture Studies

PROBLEMATIC AREAS OF THE PIANIST-CONCERTMASTER’S ACTIVITY IN THE CONTEMPORARY CULTURAL TIME-SPACE

Vladyslav ALTUKHOV — 2025-06-26

The purpose of the study is to highlight the problematic areas of the modern activity of a concertmaster. The research methodology is based on comparative guidelines and involves reliance on the principles of systemic and performance approach. The scientific novelty of the study is determined be the identification of innovative problems that arise in the activity of a concertmaster in the modern cultural time-space. Conclusions. The article identifies modern changes in artistic practice and paradigmatic shifts in the system of professional education as determinants of the formation of new problem areas in the activity of a concertmaster. It is proved that the student-centred paradigm and the distance education format problematize the formation of psychological dimensions of creative partnership and psychological flexibility and actualize the intensification of the communication potential of the concertmaster`s personality, his focus on creative lability, tolerance and empathy, readiness for experimental creative solutions, especially in demand when mastering the latest repertoire. It is substantiated the significance of such modules for solving the problem of professional development as: testing the latest components of the expressive palette of contemporary musical art; mastering graphic innovations, programs for fixing the musical text; conscious orientation toward creating a multilayered semantic dimensions of works in the context of trends in genre and conceptual transformation of musical art. It is emphasized that the digitalization of education and changes in its algorithms problematize the concertmaster`s mastery of digital tools, in particular for video and audio conferences, and mastery of the range of possibilities of digital piano options.This create the basis for solving the issues of transposition, creating ensemble unity, testing possible interpretation of the work, as well as activating the independent activity of higher education students in the development and improvement of performance versions of the work in the technical, conceptual, semantic, and figurative dimensions of the work, and is a powerful example of the musician`s permanent focus of expanding the competence circle and professional thesaurus.

THE EVOLUTION OF GILDA'S CHARACTER IN GIOVANNI VERDI'S «RIGOLETTO»: FROM INTONATIONAL SIMPLICITY TO SPIRITUAL DEPTH

Iryna BERLIZOVA — 2025-06-26

The article analyzes the image of Gilda in Giuseppe Verdi's opera Rigoletto in the context of the development of the vocal part and musical dramaturgy of the character. The aim of the study is to identify traditional performing approaches to the interpretation of Gilda's part, as well as to emphasize new semantic and artistic trends that actualize her image in the modern stage embodiment. Particular attention is paid to the analysis of the evolution of Gilda's vocal line throughout the opera, changes in intonation, rhythmic and register characteristics in connection with the dramatic development of the character. The research methodology is based on a combination of musicological analysis (study of the melodic and rhythmic structure of the vocal part, tonal drama, interaction of vocal and orchestral fabric) with a cultural and historical approach that takes into account the peculiarities of aesthetic ideas of the Verdi era. The work also uses the principles of interpretive analysis to assess the continuity of traditions and the latest trends in performance practice. The scientific novelty lies in a comprehensive consideration of the development of Gilda's vocal part as an artistic means of revealing her inner transformation from a naive girl to a moral heroine. It is shown that changes in the melodic structure, the complication of rhythm, the use of certain registers and orchestral colors play a key role in shaping the dramaturgy of the image. It is emphasized that in the role of Gilda Verdi reinterprets the traditional techniques of bel canto, giving them a deep psychological meaning. The main conclusions show that the image of Gilda in Rigoletto is not only the embodiment of the canonical archetype of female self-sacrifice, but also the personification of moral superiority over others. The composer creates a holistic musical trajectory of the character's development, in which the simplicity of the vocal line and virtuoso technique are integrated into a single dramatic idea, revealing Gilda's spiritual growth from innocence to a conscious choice of sacrifice.

ARTICULATION AS THE BASIS OF EXPRESSIVENESS OF ACADEMIC AND CHORAL SINGING

Viacheslav BOIKO — 2025-06-26

The article examines articulation as one of the basic factors in the formation of vocal expressiveness in academic solo and choral singing. Articulatory expressiveness is considered not only as a technical skill related to a clear pronunciation of the text, but as an important artistic tool that determines the semantic accuracy, intonational flexibility, stylistic reliability and communicative conviction of the performing expression. Articulation directly affects the logic of phrase, linguistic-musical intonation, dynamic structure and psychological severity of singing. In solo academic execution, it is closely related to the individual interpretation of the text, the formation of emotional image and philological accuracy, whereas in choral practice articulatory coordination becomes the importance of collective interpretation, which ensures ensemble clarity, timbre and stylistic uniformity. The purpose of the study is to identify the role of articulation as an important component of vocal expressiveness and substantiation of its value in the professional preparation of academic singers, taking into account the features of solo and choral performance. Research methods cover an analytical review of modern scientific-pedagogical and vocal-phonetic literature, a comparative analysis of articulation techniques in various forms of academic performance. The scientific novelty lies in the comprehensive approach to the consideration of articulation as an integral phenomenon, which covers speech, musical-innational and psychophysiological levels, as well as in the coverage of methodological principles of its development both in solo and ensemble practice. The results of the study prove that the development of articulatory culture is a key factor in improving the quality of vocal performance. Practice shows that systematic work on diction, articulation skill and coordination of the speech apparatus contribute to clear intonation, stylistic accuracy and emotional expressiveness of performance. It is recommended that you introduce articulation training in solo and choral training programs, including dictionary exercises, work with poetic text and coordination of articulatory accents in the choir.

IMPROVISATION AND TECHNOLOGIES: INTERACTION BETWEEN ELECTRONICS AND PERCUSSION IN CONTEMPORARY WORKS

Olena BONDARENKO — 2025-06-26

The aim of the study is to analyze the forms and characteristics of interaction between electronics and percussion in contemporary musical works, with a special focus on the role of improvisation as a tool for adaptation and co-creation within technological environments. The research centers on the transformation of the performer's role under digital influence, where improvisation gains not only aesthetic but also communicative significance. The methodology of the study is based on interdisciplinary analysis – combining musicological, performative, and technological approaches. The research includes a historical overview of key stages in the development of electroacoustic music since the 1950s (including the work of studios in Cologne, Paris, and Milan), investigates compositions by such composers as Pierre Schaeffer, Karlheinz Stockhausen, and Luciano Berio, and also analyzes contemporary live electronics practices in the works of Vinko Globokar, Pierre Jodlowski, Anna Korsun, Michael Maierhof, among others. Special attention is given to instrumental setups, types of electronics (analog, digital, interactive), and real-time improvisational methods of interaction.The scientific novelty lies in the conceptualization of improvisation as both a cognitive and artistic strategy that enables flexible interaction between the percussionist and technological environments. Improvisation is considered not only a technique but a form of musical thinking that allows adaptation to changing soundscape parameters and interaction with algorithms, programmed effects, motion sensors, and visual content. The study also highlights the transformation of the performer’s role – from an interpreter to a mediator between the acoustic body and the electronic system, where every gesture, sound, and reaction may have programmed or variable meanings.The main conclusion emphasizes that improvisation at the intersection of acoustic and digital media shapes a new performance paradigm, where the musician acts as an active co-creator of the technological process. This opens up new perspectives for rethinking contemporary musical experience, expands the boundaries of performative freedom, and poses new challenges in terms of corporeality, listening, and interaction within multimedia space.

IMPLEMENTATION OF MODERN VOCAL TECHNIQUES IN THE TRAINING PROCESS OF FUTURE ACTORS

Nataliia BORYSENKO — 2025-06-26

The aim of the work. The article is devoted to exploring the significance of the voice as a tool of expressiveness in theatrical art and to substantiating the relevance of implementing modern vocal techniques in the professional training of actors to enhance their vocal abilities. The research methodology is determined by the nature of the studied problem and is based on an interdisciplinary approach that combines the analysis of modern vocal techniques, theoretical examination of scientific sources, and practical generalization of pedagogical experience in actor training. The scientific novelty lies in the perspective of the chosen topic, its relevance, and its place within both the music-theoretical and performance processes. The study highlights innovative approaches to the development of the actor's voice in the context of contemporary theatre, emphasizes the uniqueness of each vocal technique, and explores their potential for shaping a stage voice capable of a wide range of emotional, timbral, and technical expression. Conclusions. Modern vocal techniques significantly expand the actor's vocal capabilities, enhancing endurance, flexibility, and stage authenticity. In particular, the Estill Voice Training technique promotes conscious control of the vocal apparatus through a detailed anatomical model. The Complete Vocal Technique provides mastery of a wide range of vocal effects and sounds, which is especially valuable for actors in musical theatre and musicals. The Speech Level Singing technique helps preserve the natural sound of the voice across different registers without strain, which is crucial for stage endurance. In turn, the Linklater Voice Technique focuses on releasing the natural voice by removing physical and psychological blocks, ensuring the sincerity of stage speech. Equally significant are the Fitzmaurice Voicework and Roy Hart Theatre Voice Work techniques, which integrate physicality, breath, and expression, allowing actors to go beyond traditional vocal sound and explore the unique "self" of each voice. Integrating these techniques into the educational process contributes to the development of a multifaceted, free, and technically trained stage voice that meets the demands of contemporary theatre.

WORSHIP SONGS IN CONTEMPORARY EVANGELICAL CHURCHES OF UKRAINE IN THE CONTEXT OF SOCIOCULTURAL DYNAMICS

Tetiana BULAKH — 2025-06-26

Purpose of the study. The aim of this work is to identify the peculiarities of development, social-functional significance, and transnational influences of contemporary worship songs, as well as to determine their role in the processes of identity formation and spiritual communication among believers. The analysis of contemporary Ukrainian worship songs was carried out from the perspective of their musical structure, intonational organization, stylistic features, and communicative function within the context of worship. Methodology. The research is based on an interdisciplinary approach that integrates methods of musicological analysis, elements of sociocultural anthropology, music semiotics, and theories of religious communication. The analysis of contemporary Ukrainian worship songs involved the application of structural-analytical methods to study their musical form, rhythm, and timbral-intonational characteristics, as well as sociocultural analysis to identify the functions of these works within the context of religious life. Scientific novelty. The study actualizes the phenomenon of worship music as a holistic aesthetic and communicative practice within the dynamic context of its use in the worship services of contemporary Evangelical churches in Ukraine.The significance of embodiment in religious communication is emphasized, demonstrating that the worship song acts as a mechanism for creating collective experience through sensory engagement. The stylistic and structural features of contemporary Ukrainian worship songs are analyzed, and adaptive strategies in response to global musical trends are identified. Conclusions. Worship music in Evangelical churches in Ukraine emerges as a multidimensional phenomenon that integrates textual, musical, and corporeal dimensions of spiritual experience. Its functions extend beyond purely aesthetic domains, encompassing processes of religious communication, social identification, and the institutionalization of the community ethos. Further research is promising in the area of stylistic analysis of contemporary Ukrainian worship songs, exploration of their interaction with global musical trends, and the identification of the specific features of local religious ethos within the framework of transcultural processes.

THE CREATIVE PHENOMENON OF THE LVIV CHAMBER ORCHESTRA «ACADEMIA» FROM THE PERSPECTIVE OF THE IDEA OF PERSONALISM

Marta BURA — 2025-06-26

The purpose of the work is to identify the passionate role of personalities in the history of the Lviv Chamber Orchestra «Academia». The article is devoted to the activities of the Lviv Chamber Orchestra «Academia», considered through the prism of the idea of personalism. The study traces how the personalistic intentions of prominent artists initiated the creation of the collective, outlines the stages of the orchestra's functioning and analyzes the influence of the personalities of leaders and conductors on its development in the period from the second half of the 20th century to the beginning of the 21st century, namely, until 1920.The methodology. The research issues led to the use of a complex interaction of a number of theoretical and empirical methods, such as: systemic (in the holistic study of Lviv chamber and orchestral performance as an artistic phenomenon), historical (in the study of the foundation and further development of the Chamber Orchestra «Academia»), typological (in the analysis of personality types of leaders and conductors), analytical (in the study of trends in the development of the «Academia» Orchestra), observation (in the targeted study of the object of research), interview (in the identification of the role of personalistic intentions in the development of the Chamber Orchestra «Academia»).The scientific novelty of the study lies in substantiating the concept of the activities of the Chamber Orchestra «Academia» in the period from its foundation in 1950 to 1920 as a result of the implementation of the personalistic intentions of its leaders and conductors.Conclusions. The history of the Lviv Chamber Orchestra «Academia» over the sixty years of its existence (from 1959 to2020) is clearly divided into two major periods, the specificity of which is determined by the personalistic factor, that is, the peculiarities of the work of the group's leaders. In the first period, this is mainly the activity of the artistic director Oleksandra Derkach, as well as the concertmaster-leader Matis Weitzner and the assistant concertmaster, and later, the concertmaster and leader Volodymyr Zaransky. In the second, this is the activity of the artistic director and conductor Myroslav Skoryk, the concertmaster-leader Artur Mykytka and the conductor Igor Pylatyuk, who passed the "orchestra school" as its participants in the first period of development.

VOCAL IMPROVISATION: FROM SOLO SINGING TO ENSEMBLE PERFORMANCE

Oleg GONTAR — 2025-06-26

The article explores the evolution and specifics of vocal improvisation in its solo and ensemble forms. The purpose of the study is to determine the peculiarities of the transformation of improvisational techniques in the transition from individual vocal expression to collective forms of music-making.The research methodology is based on an integrated approach using historical, comparative and systematic analytical methods, which allowed tracing the evolution of improvisational techniques in various vocal traditions and identifying patterns of their adaptation to ensemble performance.The scientific novelty lies in the systematization of improvisational techniques in the context of contemporary vocal practices and substantiation of methods for their integration into ensemble performance. For the first time, the specifics of communicative processes between participants of vocal ensembles during collective improvisation are analyzed, and their influence on the artistic result is determined. Conclusions. It has been established that the transition of improvisational techniques from solo to ensemble performance is accompanied by the transformation of expressive means, modification of performers' psychological attitudes, and the formation of specific communication channels. The relationship between the development of individual improvisational skills of vocalists and the quality of the collective improvisational process has been revealed. It has been proven that ensemble improvisation requires additional skills from singers compared to solo improvisation, including the ability to synchronize creative impulses, subordinate individual expression to the general dramaturgical concept, and quickly adapt to unpredictable performance decisions of partners.

VASYL BARVINSKY’S PIANO PRELUDES PERFORMED BY MARIA KRUSHELNYTSKA

Nataliia GORETSKA — 2025-06-26

M. Krushelnytska is an outstanding Ukrainian pianist and pedagogue, a student of H. Neihauz. The works of Ukrainian composers, among them V. Barvinsky, have a special place her repertoire. Pianist performed two cycles of piano miniatures by V. Barvinsky, which were recorded in the 1960s on Kyiv and Lviv radios. Those records have a special historical and artistic value for Ukrainian culture. They are a vivid example of M. Krushelnytska’s original pianistic manner, as well as her tireless work with promotion of Ukrainian music.The main objective of the study is to research the performance style by M. Krushelnytska (on example V. Barvinsky’s piano preludes).Methodology. Methods of intonation analysis, composition and interpretive analysis, methods of observation, comparison and generalization was used in this paper.Scientific novelty of the study is determined by its completely new, although at the same time, very relevant problem (the research of the specified problem has never been carried out, although it has the great importance for piano performance).Conclusions. Two things got together in performance V. Barvinsky’s preludes by M. Krushelnytska geniusly. On the one side, this is the quality of artistic texts with perfectly embodied in their late-romantic features and elements of modern musical thinking. Om the other side, this is romantic pianism of M. Krushelnytska as a student of the H. Neihauz school.The analyzed recordings reveal such features of M. Krushelnytska’s performance style as the versatility of the piano apparatus, virtuoso performance technique, logic of vocal phrasing, agogic rhythm-tempo deviations, wave-like dynamics, detailed articulation, compositional versatility, performance improvisation, exceptional sound culture, strong, supportive sound creation, a rare sense of proportion, understanding of listeners expectations, natural musicality, intuition. The detailed description of the performance of V. Barvinsky’s preludes by M. Krushelnytska will become a reliable scientific and methodical guide for young pianists who seek to understand the secrets of a high performing style.

GENRE-STYLISH METAMORPHOSES OF THE PIANO CONCERT IN THE WORK OF C. SAINT- SAËNS

Natalia ZAYATS — 2025-06-26

The article is devoted to analytical considerations of the genre and style specifics of the piano concert in the instrumental decline of C. Saint-Saëns. The purpose of the work – revealing the poetic-intonation uniqueness of the piano concert cycles of C. Saint-Saëns in the context of the genre-style and spiritual wonders of French culture in the middle and other half of the 19th century. The methodology of the work revolves around the intonational concept of music, as well as genre-style, interdisciplinary and historical-cultural approaches.Scientific novelty is indicated by its analytical perspective, which reflects both the genre and style evolution of the piano concerto in the work of C. Saint-Saëns, as well as its correspondence with the spiritual and aesthetic inclinations of the composer.Conclusions. The five piano concertos of C. Saint-Saëns, on the one hand, fully reflect the basic stylistic orientations of his pianism, on the other hand, represent the evolution of the composer's creative thinking in this genre, which covered almost the entire second half of the 19th century (from 1858 to 1896) and turned out to be organically inscribed in the context of French piano instrumentalism of the specified period and its neoclassical searches. The analyzed concertos of C. Saint-Saëns, on the one hand, reveal the most important component of the composer's creative personality, concentrated on the "classical type of thinking" (O. Burel), which appeals to perfect compositional forms of expression, correlating with the work of the Viennese classics, and with the genre-stylistic guidelines of the work of Baroque authors, and with the revival of the French Rococo piano tradition. On the other hand, the concert heritage of C. Saint-Saëns is defined by his attraction to romantic poetic thinking (F. Liszt) and the structural transformations of the concert genre that were indicative for him. The stylistic integrativity of the composer's work is also correlated with the eclecticism typical of French culture, which implies the intertextuality of 20th-century musical art.

SPECIFICITIES OF THE DEVELOPMENT OF INSTRUMENTAL PERFORMANCE IN CHINA IN THE FIRST QUARTER OF THE 21ST CENTURY

Itao DUN — 2025-06-26

The purpose of the work is to reveal the specifics of the development and functioning of instrumental performance in the present period.The article examines the main trends and features of the development of Chinese instrumental performance in the first quarter of the 21st century. The influence of globalization, digital technologies, China's cultural policy, as well as the integration of traditional and modern forms of music making are determined. Changes in the system of musical education and the institutional formation of artistic groups are analyzed.The research methodology is based on a comprehensive approach that combines the observation method and art historical analysis (consideration of the specifics of the development of traditional Chinese folk music, various genres, directions, and styles). The information approach made it possible to consider the dynamics of development over the past decades. The use of the analytical method made it possible to clarify the trends in the development of Chinese musical culture and art. In order to systematically and purposefully perceive the selected topic, the article uses the observation method.The scientific novelty lies in the attempt to take a comprehensive approach to highlighting the specifics of Chinese instrumental music, genres, and styles. The article states that the diversity of musical genres is the result of the development of traditional Chinese music, which not only continues traditional music but also demonstrates development and innovation.It has been proven that modern instrumental art in China is associated with the influence of Western culture, the Chinese school of composition, and the development of new genres and styles.China's contemporary musical culture is dynamic and diverse, combining traditional elements with contemporary artistic trends.

JAZZ AESTHETICS AND UKRAINIAN MELOS: TO THE QUESTION OF THE TRAJECTORY OF DEVELOPMENT AND INTERACTION IN CONTEMPORARY PERFORMANCE PRACTICE

Yuliia KOSTANDOVA — 2025-06-26

The purpose of the study is to investigate the development of jazz aesthetics and its interaction with Ukrainian melos, in particular in the context of contemporary jazz performance in Ukraine. The aim is to examine the evolutionary paths of jazz art as a vibrant musical phenomenon in Ukraine, analyze its interaction with national traditions, and identify specific features of the Ukrainian jazz style.Methodology – the work uses a historical and cultural approach, which allows us to trace the development of jazz music in Ukraine from the beginning of the 20th century to the present. Methods of musicological analysis were used to study the main stages of the formation of Ukrainian jazz, as well as a comparative approach to identify the influence of international trends on national music.Scientific novelty – the article systematically studies for the first time the role of jazz in the formation of Ukrainian musical identity, emphasizing the interaction of jazz and Ukrainian folk song elements. The author pays special attention to the influence of historical and social aspects on the development of jazz in Ukraine. The work of Ukrainian jazz musicians, such as Igor Khoma, Serhiy Davydov, and Maryna Yurasova, who managed to combine traditional melodies with jazz innovations, is also studied.Conclusions – The development of jazz in Ukraine is the result of a complex process of interaction of cultural influences. Ukrainian jazz musicians have successfully adapted the musical and stylistic characteristics of jazz art to the national musical tradition, which has contributed to the formation of a unique Ukrainian jazz school. Today, Ukrainian jazz is actively integrating into the international cultural space, while preserving its national identity. The contributions of such artists as Igor Zakus, Natalia Lebedeva, Serhiy Davydov, and Oleksiy Petukhov demonstrate the importance of synthesizing jazz with other genres to enrich Ukraine's musical landscape.

VOCAL PERFORMANCE AS A FACTOR IN THE FORMATION OF ARTISTIC IMAGE IN STAGE ART

Oksana MYKHAILIUCHENKO — 2025-06-26

The article presents a comprehensive theoretical study of vocal performance as one of the key factors in the formation of artistic imagery in stage art. The necessity of overcoming the narrowly technical approach to vocal execution is emphasized, with a focus on conceptualizing the voice as a holistic artistic and semiotic instrument that functions within the framework of interpretative, communicative, and aesthetic interaction with the audience. It is argued that vocal performance in the stage context is realized through a synthesis of intonational and timbral characteristics, dynamic articulation, bodily expressiveness, the performer's psycho-emotional state, visual presence, and improvisational ability.Particular attention is given to the category of artistic image, which is considered as a multilayered structure constructed by the performer through the process of stage transformation. The article proves that the effective formation of an image in stage performance is possible only when the vocalist deeply comprehends the semantic functions of sound, dynamics, intonation, and body as integral elements of a unified artistic system. Methodological approaches to professional vocalist training are summarized, with emphasis on the significance of combining vocal-technical development with the cultivation of interpretive, imaginative, and creative thinking. The methodological basis of the research includes systematic, analytical, comparative, and art-critical methods, which enabled interdisciplinary interpretation of vocal performance in the context of stage action. The scientific novelty of the article lies in identifying the correlation between vocal expressiveness parameters and the semantic content of the stage image, as well as in the proposed authorial interpretation of stage culture as a dynamic outcome of the performer’s semantic work. The practical significance of the research lies in its applicability to professional training of students in artistic specializations, particularly within disciplines such as "Vocal Mastery," "Stage Practice," and "Interpretation of Musical Works."Prospects for further research involve the development of cognitive models of vocal thinking, studying the psychosemantic nature of intonation, and exploring stage improvisation as a mechanism of live artistic image formation.

UKRAINIAN PIANO REPERTOIRE FOR CHILDREN IN THE CONTEXT OF MODERN TENDENCIES OF PRIMARY MUSIC EDUCATION DEVELOPMENT

Iryna NOVOSIADLA — 2025-06-26

The article explores the peculiarities of the formation of the modern Ukrainian piano repertoire for children in the system of Primary Art Education in the context of transformations of the educational space, cultural, artistic and social challenges of our time. The relevance of the study is due to the need to revise the criteria for selecting educational repertoire in connection with the renewal of educational approaches, the integration of national musical material and the strengthening of the role of Art Education in shaping the child's resistance to external stress factors. The aim of this article is to identify current tendencies in the use of works by Ukrainian composers in the piano pedagogical repertoire, which is based on the evolution of educational, artistic, aesthetic and psycho-emotional needs of the new generation of children (the so-called ‘Generation Alpha’). The methodological basis of the study includes systematic, comparative and analytical, descriptive and empiric research methods. The survey of piano teachers of primary specialised art educational institutions made it possible to identify priority areas in the formation of repertoire, as well as to identify the level of interest in the works by Ukrainian composers of the past and present, including representatives of the Ukrainian diaspora. The scientific novelty of research lies in a comprehensive analysis of the modern repertoire policy on the use of piano works by Ukrainian composers for children in relation to cultural, artistic, musical, educational, social and communicative factors. Conclusions. Today, special attention is paid to combining the pedagogical and artistic potential of works that form the inner world of the child, contributing to his/her personal development and emotional balance in the present-day conditions. The results of the survey revealed a shift in emphasis from the academic music of the last century towards contemporary compositions with vivid imagery, accessible piano presentation and spectacular sound. The author notes the growth of composers' interest in the genre of transcription, the popularity of ensemble works, jazz-style pieces, as well as the tendency to involve compositions with patriotic content. The active use of modern stylisations of Ukrainian folklore as an effective means of musical and aesthetic education is emphasised. The results of the study confirm the need to support compositional and pedagogical initiatives aimed at developing national musical content. The materials of this article may be of interest to piano teachers, composers, musicologists and curriculum developers.

THE ASSIMILATION OF MUSICAL THEATRE AND ROCK MUSIC AMIDST GLOBALIZATION PROCESSES

Volodymyr OTKYDACH — 2025-06-26

The objective of this article is to identify the key characteristics of the assimilation between musical theatre and rock music in the context of globalization.The research methodology is grounded in historical-cultural and systemic approaches, enabling the authors to trace the evolution of musical theatre from its inception to its modern manifestations within a sociocultural framework.The novelty of the study lies in the introduction of the term “musical-entertainment theatre” into the field of Ukrainian musicology. The authors provide a clear definition of the term and argue for its relevance and necessity.In pursuit of the stated aim, the paper explores the development of theatre as an art form and its integration with music, which ultimately led to the creation of a new theatrical genre ‒ the musical-entertainment theatre. The fusion of musical theatre and rock music is examined within the conditions of globalization. The article highlights the interconnectedness of these art forms in response to contemporary aesthetic needs and outlines the trajectory of their formation and symbiotic evolution.The emergence of rock opera in the mid-20th century marked a turning point in the history of musical theatre. A new stylistic direction ‒ rock music ‒ was incorporated into the traditional musical accompaniment of stage productions.Many musicologists acknowledged this as a “rock revolution,” fueled by innovations such as microphones, amplification systems, powerful rhythmic sounds, lighting effects, and more – all of which drastically altered the listener’s experience.Rock opera became a space for diverse artistic experimentation across music, stagecraft, choreography, and special effects, becoming fertile ground for the use of modern technologies in large-scale theatrical productions.In conclusion, the authors observe that rock opera, through its development, has formed a new hybrid with the transformed musical ‒ one that follows a novel architectural principle. This updated musical reinterprets the traditional number-based structure, shifting focus away from a linear narrative and instead emphasizing visual spectacle and the melodic expressiveness of individual scenes, which often function independently of the plot. These changes stem from the principles of musical-entertainment theatre, where art’s compensatory function comes to the forefront. Musical-entertainment theatre draws from a wide range of musical genres ‒ including classical music, pop, jazz, rock, and mainstream popular music. The merging of rock opera and musical also gave rise to a new genre subtype: the rock musical. This form adopts expressive techniques not only from its parent genres but also from other musical-theatrical traditions.

PROBLEMS OF FORMING MUSICAL CULTURE OF EDUCATION SEEKERS IN SCIENTIFIC ACTIVITY AND IN PRACTICE

Vitalii OKHMANIUK — 2025-06-26

One of problems of musical education of bread-winners of education there is forming of musical culture of bread-winners of education in establishments of higher education. Actuality of problem of forming of musical culture of bread-winners consists in that it is not enough to execute popular music only, but also it is needed to awake interest the music a listener.Forming of musical culture of future teachers of artistic establishments of education envisages a wide acquaintance with the musical phenomena, understanding of their maintenance, problems. She has an only goal – all-round to develop the active in public life citizen of our state.The purpose of the article is to analyse the state of forming of musical culture bread-winners of education in scientific to activity and in practice and to work, to work out and apply in practice teaching terms and criteria of forming of musical culture of bread-winners of education in scientific activity and in practice.The methodology of the work consists in the application of such methods as: theoretical analysis of literature on issue of study of experience of teachers, pedagogical supervision, experiment, statistical аналiз and treatments of research results.The scientific novelty of the article consists in creation and embodiment of the system of psychology – pedagogical guidance by education of musical culture of bread-winners of education in scientific activity and in practice and, that embraces all stages of studies and vital functions of bread-winners of education.As a conclusion, in the article we proved that thus an aim and task closely constrained inter se an only filament is forming of musical culture of bread-winners of education. These circumstances stipulated character of experimental methodology that would assist providing of dynamic of forming of musical culture of bread-winners of education.

«ALBUM FOR CHILDREN AND YOUTH: IMAGERY, GENRE AND STYLISTIC FEATURES» BY VOLODYMYR RUNCHAK

Maryan PANKIV — 2025-06-26

This article examines Album for Children and Youth in Eight Parts: ‘Children Under 16 Are Allowed to Perform’ (2016), a cycle of works for solo bayan/button accordion by Ukrainian composer Volodymyr Runchak. The aim of the study is to identify the genre and stylistic characteristics of the composition, as well as to explore the range of performance challenges it presents for the accordionist.The research methodology involves a combination of approaches to analyzing a composer’s creative output. These include: structural-functional analysis for investigating the composition’s form, dramaturgy, and imagery; genre and stylistic analysis to highlight the specifics of Runchak’s compositional language; phenomenological methods to understand the unique creative identity of Runchak; analytical and synthetic approaches to examine relevant musicological literature on the composer’s work.The article’s scientific novelty lies in identifying the distinctive features of Runchak’s compositional style in children's music for accordion.The study highlights the cyclical nature of Runchak’s chamber works for button accordion. Album for Children and Youth in Eight Parts is notable for its eccentric subtitle and vivid, humorous movement titles that contrast sharply with the work’s serious content and complex performance demands. Characterized by virtuosity and concert-level expressiveness, the cycle serves as an anthology of contemporary accordion performance techniques aimed at young musicians. It utilizes the full range of accordion articulations and incorporates a variety of advanced techniques, including bow tremolo, triple ricochet, glissandi (upward and downward chordal), repeated notes, vibrato, and others.The conclusion asserts that Album for Children and Youth in Eight Parts is a significant modern work. Mastering it demonstrates a young performer’s command of the essential skills required of a contemporary accordionist, including a rich textural palette, diverse articulations and strokes, and a wide dynamic range. The suite features figurative unity across movements while offering contrast in character and tempo, alternating between lively and calm sections.Overall, the cycle can be regarded as a brilliant, highly artistic etude of transcendental difficulty, designed to develop various performance techniques in gifted children of the 21st century. Through this composition, Runchak introduces young performers to the world of contemporary accordion music, intimately tied to the imagery of childhood. He evokes fundamental childhood values such as family, friendship, joy, and play. The work also revitalizes a broad spectrum of classical genres – prelude, march, etude, waltz, toccata, and invention – within the context of the modern accordion repertoire.

CREATIVE PORTRAIT OF LIUBOV GUNDER: MULTIDIRECTIONALITY OF PERFORMING ACTIVITY

Vladyslav PIRUS — 2025-06-26

The purpose of the work is to analyze the specific features of the creative activity of the outstanding Ukrainian collaborative pianist Liubov Gunder in her work with various performing groups (soloists-vocalists, soloists- instrumentalists, vocal ensembles, orchestras), to identify the key principles of her approach and the adaptability of her performance style depending on the peculiarities of cooperation. The study aims to identify a unique combination of technical skill, deep stylistic flair, empathy, improvisational abilities, and pedagogical tact in her concertmaster practice.The research methodology is based on a comprehensive approach that combines the following methods: analytical (analysis of scientific articles on L. Gunder's work and general issues of concert pianism and improvisation); biographical (coverage of the pianist's creative career); art historical analysis (consideration of the specifics of interpretation and arrangement); comparative (comparison of approaches to working with different performing groups); analysis of interviews and memoirs by L. Gunder to identify her own reflections on the creative process. The research applies the principles of interdisciplinarity with the use of terminology and individual approaches of musicology, communication psychology, and pedagogy.The scientific novelty lies in an attempt to take a comprehensive approach to the specifics of Liubov Gunder's creative activity as a collaborative pianist with different types of artistic groups and individual performers. In contrast to general works on the art of concertmaster, the proposed research synthesizes the versatility of the artist's talent. A unique model of creative interaction is revealed, especially in the long-term cooperation with the vocal ensemble “Rosynka”, based on synergy, empathy and improvisation.It is proved that the creative activity of the Honored Artist of Ukraine Liubov Gunder as a collaborative pianist, solo performer, and teacher is characterized by exceptional versatility and adaptability.

ESPECIALLY THE DEVELOPMENT OF DULCIMER IN THE EUROPEAN MUSICAL CULTURE XIX-XX CENTURY (ORGANOLOGICAL ASPECT)

Olexandra SAVYTSKA — 2025-06-26

In modern world musical culture, dulcimers occupy an important place, acting as a unique bridge between folk tradition and academic art. Their rich timbre and wide range of sound capabilities make this instrument popular among both folk music performers and professional musicians working in classical and modern genres. The growing interest in dulcimers is due not only to their musical expressiveness, but also to the rich history of development, which reflects the complex processes of cultural interaction and technical innovations in different European countries. This topic is relevant for scientific research, as it allows for a deeper understanding of the evolution of the instrument, its role in the formation of national music schools and its impact on modern performing practice.The purpose of the article is to identify the patterns and features of the constructive transformation of dulcimers in European countries of the 19th–20th centuries, as well as to determine the influence of socio-cultural, professional and technological factors on the formation of different types of this instrument and their integration into professional musical practice.The methodology. The article uses organological analysis to study the constructive features of cymbals, historical and cultural analysis to clarify the influence of socio-cultural and ethnic factors on their development, a comparative method to compare national variants of the instrument, as well as source analysis to study scientific and archival sources.The scientific novelty lies in the comprehensive organological study of the constructive evolution of cymbals in European musical culture of the 19th – 20th centuries.Conclusions. The evolution of cymbals took place in two main ways: – universalization (creation of concert models, which became an example of a combination of multi-ethnic and multi- temporal technical capabilities and findings in the field of design improvement and established themselves as an object of cymbal professionalism in many European countries); – specialization (adaptation of traditional instruments to the needs of national music schools, which resulted in the emergence of Ukrainian, Latvian, Moldovan cymbals, etc.).

MUSICAL ART IN THE CONTEXT OF HIGHER EDUCATION: THEORY, METHODOLOGY AND PRACTICE OF WORKING WITH A COLLECTIVE

Petro SHYMANSKYI — 2025-06-26

The relevance of the topic lies in the necessity of forming a new type of art specialist – not only a performer, but also an organiser, a leader capable of working in conditions of team creativity, interdisciplinary interaction, and openness to innovation. In today's context of art education development, an important task of higher education institutions is to form highly qualified professionals capable of creative activity, professional mobility and effective communication within the artistic environment. One of the key elements of this training is work with a musical collective, covering the practical, methodological and theoretical training of future musicians, teachers, conductors and organisers of cultural and artistic processes. This article examines the fundamentals of organising and managing a musical ensemble in higher education institutions. The theoretical foundations, methodological approaches, and specific features of the practical implementation of the educational process in the field of musical art are analysed. The key pedagogical principles and psycho-pedagogical aspects that affect the effectiveness of working with the collective are identified. The article addresses the issues of structure, functioning, interaction of members of a musical ensemble, as well as the role of the leader in creating a favourable creative environment. Modern trends and technologies used in the process of forming professional skills of future musicians are analysed. The practical aspects of organising the rehearsal process, selecting repertoire, planning study time and features of preparing for concert performances are considered. Special attention is given to the issues of psycho-pedagogical interaction in the student environment, formation of motivation, the development of leadership qualities, responsibility, and cooperation in the conditions of creative collaboration. The article also highlights the peculiarities of participants' adaptation to different artistic formats and styles. The importance of the practical training as an integral part of the process of professional training of future music leaders is emphasised. The aim of this article is to provide a comprehensive theoretical and practical understanding of the process of organising, methodology and practical work with a musical collective in a higher education institution in the context of modern educational and artistic requirements.Methodology. Given the increasing cultural demand in society and the need for highly qualified specialists in the field of art education, the issue of methodological support for working with a musical ensemble becomes especially significant. The scientific substantiation of the methodology for managing musical collectives, the identification of psycho- pedagogical factors for their effective functioning, and the introduction of practice-oriented forms of education in student training are all key to the successful professional development of future specialists. The scientific novelty of this study is a comprehensive understanding of musical art as a component of the professional training of future specialists in higher education. For the first time, the integration of theoretical foundations, methodological approaches and practical aspects of working with a musical collective into a single educational model that meets the modern requirements of artistic pedagogy has been carried out. Effective pedagogical conditions for the formation of students' artistic and creative competence through collective musical activities have been identified and substantiated. The research materials can be useful for teachers, students, conductors, organisers of cultural and educational activities, as well as for all those working in the field of music education.

THE WORKS OF UKRAINIAN COMPOSERS FOR HOMOGENEOUS AND MIXED ENSEMBLES WITH THE PARTICIPATION OF GUITAR IN THE LATE TWENTIETH AND EARLY TWENTY-FIRST CENTURIES

Bogdan BURLACHENKO — 2025-06-26

The research is devoted to ensemble guitar performance, which is considered on the basis of the works of Ukrainian composers (A. Andrushko, Y. Stasiuk, A. Boyko, S. Gurin, L. Gerasymchuk, O. Khodakivskyi, V. Kulykovska, M. Vihula, and F. Bernat). It is noted that the work of composers is one of the important aspects in the context of the development of instrumental art in general and guitar ensemble music in particular. The purpose of the study is to determine the specifics of guitar compositions for homogeneous and mixed ensembles by Ukrainian composers of the late twentieth and early twenty-first centuries and to expand analytical information on the availability of ensemble repertoire. The research methodology includes a set of methods, including the analytical approach used to study the available scientific literature; the historical method, which is determined by the definition of a certain period of time of ensemble music with the participation of the guitar; methods of synthesis and theoretical generalization – to create a certain sequence of presentation of the main material of the research, drawing conclusions and prospects for further research on this topic. The scientific novelty of the article lies in the first comprehensive study, the subject of which is the generalization of available information on the repertoire for guitar ensembles. Ukrainian composers In conclusion, it is noted that composers' creativity occupies a significant place in the formation and development of guitar ensemble performance and is gaining increasing popularity among instrumentalists. The lack of ensemble guitar repertoire is explained by the fact that the ensemble guitar movement is a relatively new phenomenon in Ukraine, little studied and only recently supported by academic, performing and composing circles. Today, artists are translating and arranging well-known works by foreign authors, and adding their own compositions to the repertoire of ensemble guitarists.

DANCE IN THE RENAISSANCE ERA: SOCIOCULTURAL ANALYSIS

Karina KINDER — 2025-06-26

It was in the Renaissance that the formation of professional choreography began, and the socio-cultural functions of dance significantly changed. The analysis of these aspects will help to better understand not only the features of the historical development of the European choreographic tradition, but also the specifics of contemporary dance art.The purpose of the article is a sociocultural analysis of the features of dance in the Renaissance and its influence on the further development of European choreographic culture.The research methodology is based on an interdisciplinary synthesis of socio-cultural analytics and choreological art criticism approach. Historical, comparative, structural-functional methods were also used.Scientific novelty. The features of dance in the Renaissance era are studied in the context of the interaction of the main components of Renaissance culture in their relationships with music, fine arts and architecture; the influences of ideological, aesthetic, and social factors on its development are determined; the evolution of the sociocultural functions of Renaissance dance and its influence on the further development of European choreography are traced.Conclusions. In the Renaissance era, important trends were initiated that determined the development of choreographic culture in subsequent centuries – the formation of ballroom vocabulary, the complication of choreographic technique, the final separation of folk and aristocratic dance, the development of dance theory and choreographic teaching methods. In the area of Western Europe, unified dance canons were formed and the trend of internationalization of ballroom choreography deepened. If in previous historical eras the dominant sociocultural function of dance were ritual and religious, then, starting from the Renaissance, aesthetic, ideological and socially-representative functions became priority. Ballroom dance acquired a special status, transmitting humanistic values, secular ideals and visual- aesthetic tastes, playing an important role in upbringing, education and ceremonial etiquette, serving as a social marker of belonging to the elite.

UNDERSTANDING THE PHENOMENON OF MYTH AND MYTH-MAKING: GENERAL CHARACTERIZATION AND ANALYSIS OF SCIENTIFIC RESEARCH IN THE PERIOD 2020-2024

Oles’ DOVHANYK — 2025-06-26

The article characterizes and analyzes the scientific research of 2020-2024 related to the issues of myth. It reveals the peculiarities of understanding archaic and modern myths. The main properties of the modern myth and the consequences of their impact on the socio-cultural dimension are clarified. We demonstrate the central generalizations and conclusions available in scientific research published in 2020-2024. The problematic aspects of understanding myths that require further development and study in scientific thought are identified.Purpose. To find out the degree of development of the myth issue in scientific research published during 2020-2024.Research methodology. The achievement of this goal involves the use of the following methods and approaches: analytical; systematic; chronological; structural and functional. This methodological research toolkit will help to clarify the links between the content elements and structural components of research related to the topic of myth.Scientific novelty. The study provides a multifaceted review and characterization of research on myth published in the period 2020-2024. The study is the first to conduct a comprehensive analysis of scientific publications on myth. The contexts or thematic fields that are insufficiently developed and need to be actualized in future scientific and academic research are identified.Conclusions. The study has revealed the interdisciplinary nature of scientific research on myth. It has been found that the analyzed studies are synthetic or hybrid theoretical and practical in nature, i.e., aimed at studying the basic theories of understanding myth and their functioning in the socio-cultural dimension. It is revealed that the main substantive conclusions presented in the analyzed studies include the following: the universality of mythological or archetypal forms in different peoples and societies; the importance of ritual in the process of forming mythological consciousness and understanding of socio-cultural reality; distinguishing or opposing the categories of “archaic” and “political” myths.It is established that the alternative interpretation of political myths and the manifestations of archetypal and mythological images in the full-scale Russian-Ukrainian war are insufficiently studied in scientific research.

CONTEMPORARY DANCE AS A SOCIO-CULTURAL PHENOMENON: A COMBINATION OF SPIRITUAL VALUES AND CREATIVE FORMS OF LEISURE

Tetiana KLIMUK — 2025-06-26

The European choice for the development of Ukrainian society implies realizing a new role for contemporary dance.Time demands a rethinking of the socio-cultural functions of dance, its artistic and aesthetic features, and therapeutic possibilities for creating creative forms of leisure in the socio-cultural space of Ukraine.The article aims to analyze the artistic, aesthetic, spiritual, and psychological features of understanding the stylistic, genre, and aesthetic, and socio-cultural specifics of contemporary dance in the context of modernization transformations in Ukraine. The realization of the goal is achieved through the solution of the following objectives: 1) to reveal the essence and concept of contemporary dance as a multifaceted socio-cultural phenomenon of universal action 2) to study the therapeutic effect of contemporary dance in the context of harmonizing personal development and the exchange of cultural values of social groups among themselves 3) to determine the peculiarities of cultural meanings and symbols of contemporary dance culture in the context of combining spiritual values and new creative forms of leisure to reproduce cultural values.The research methodology is based on a combination of cultural and art history approaches to analyzing the socio- cultural and artistic and aesthetic nature of dance, and a psychological perspective was also useful in understanding the therapeutic possibilities of dance practices.Scientific novelty. The article examines the set of characteristics and differences in the understanding of contemporary dance and its use in modern forms of socio-cultural activity in Ukraine.As a conclusion, the article emphasizes that dance has always attracted the attention of researchers from various schools and trends, physiologists, and scientists in the field of psychology and pedagogy. Dance can be defined as a socio- cultural phenomenon in which particularly significant psychoplastic intonations of society are expressed and social motives are reflected. Dance is a whole complex of non-verbal signs and signals that carry information about the psychological characteristics of an individual and a group. The reason for the therapeutic effect of dance lies in the importance of rhythm, the main and defining element of dance that affects the human soul. Dance is a model not only of the social system, but also of the value and normative matrix of the development of an individual. This understanding opens up new perspectives in the organization of new creative forms of cultural and leisure activities in Ukraine.

CULTURAL DIPLOMACY IN FOREIGN HUMANITIES

Ihor KORZHUK — 2025-06-26

In a general sense, world humanitarian studies understand cultural diplomacy as a sphere of politics in which states seek to mobilize their cultural resources to achieve foreign policy goals. The nature of these goals and the cultural resources mobilized to achieve them has undergone historical changes, and a number of terms have been used to designate this type of policy in various national and historical contexts. During the 19th century, cultural diplomacy was closely associated with the rivalry of the Great Powers, especially in the colonial context. However, after the end of World War I, cultural diplomacy increasingly began to be understood as a means of ideological competition, a trend that became central to Cold War cultural diplomacy. Nevertheless, the focus of scholars on the cultural dimensions of the confrontation between the two superpowers of the Cold War diverted attention from other varieties of cultural diplomacy in the “Third World” or “Global South”, which sought to establish forms of solidarity between postcolonial nations. It was in this form, adapted to the post-bipolar realities of world politics, that the appeal to the phenomenon of cultural diplomacy went beyond the boundaries of the American academic environment and was accepted by researchers from other countries. Despite the diversity of concepts, today in international discourse the concept of cultural diplomacy is considered a generally accepted term. Definitions of cultural diplomacy, taking into account specific goals and forms of its implementation, are variable. In the post-bipolar period, the development of world politics has attracted interest in cultural diplomacy among leaders outside the American academic space and in gaining recognition among scientists from other countries. Regardless of the variety of approaches and interpretations, the term cultural diplomacy has become entrenched in the international scientific community as an obscure concept. The significance of cultural diplomacy can be differentiated depending on the specific forms of its implementation. Systematic understanding of this phenomenon began in the 1960s in the 20th century. Within the framework of cultural diplomacy, a variety of tools will be used, including: art (theatre, cinema, music, dance, painting, sculpture), organization of exhibitions, international events, such as EXPO; educational and academic exchange programs, international courses outside the border; popularization of literature through the creation of libraries or translation of works into other languages; international expansion of new products and cultural content; as well as religious diplomacy, including projects for interreligious dialogue.

SACRED ARCHITECTURE OF LUHANSK REGION IN THE CONDITIONS OF RUSSIAN MILITARY EXPANSION (2022): LOSSES AND RESTORATION POTENTIAL

Yevhenii KUZMENKO — 2025-06-26

The sacred architecture of Luhansk Oblast is a pearl of the region, an integral part of the national and world cultural heritage, an element of national security. The work is aimed at the examining the sacred architecture of Luhanshchyna in the conditions of a full-scale Russian military expansion in a historical and cultural dimensions. The methodological basis of the article includes the philosophy and history of culture, historical and cultural approaches. The scientific novelty of the study consists of the fact that it reveals the current, little-investigated problem of the sacred architecture of the Luhansk region in the conditions of Russian military expansion, its losses and the restoration potential. Conclusions. It has been ascertained after the results of the study that the sacred architecture of Luhansk Oblast affects irreparable losses because of a full-scale Russian military expansion. Fifty-four church buildings suffered from enemy shelling during the spring-summer of 2022 have been detected in Luhansk Oblast. The largest number of losses is localized in the Siverskodonetsk district. Among the affected objects 19 are completely destroyed or severely damaged. Currently, 9 church buildings are architectural monuments of the local importance.At the same time, 2 temples, the Second St. Mytrofan Church in the city of Lysychansk and the St. Nicholas Church in the city of Popasna, have historical and architectural value, but are not on the government accounting as well as the preservation order is absent. These facts make the problem of identifying cultural heritage sites those have value and assigning them a protected status relevant in the all-Ukrainian dimension. Most of the damaged churches have the potential for restoration, but it depends primarily on the region de-occupation. Currently, monitoring the condition of the specified buildings and reporting information about these Russian crimes against the international community are considered as the fundamental tasks of the state. The problem has prospects for the further research after the materials from the other regions of Ukraine.

WOMEN IN CHINESE SOCIETY: THE PATH FROM TRADITION TO SOCIO-CULTURAL TRANSFORMATIONS

Oksana PETINOVA — 2025-06-26

The article presents the results of the Ukrainian-Chinese educational and research project ‘Education in a Globalized Society: Philosophy, Management, Culture, Modern Trends, Economic Options and International Practices’, one of the aspects of which was to study the socio-cultural aspects of the development of modern Chinese society on the example of the role and social status of women.The purpose of the article is to show the peculiarities of the evolution of women's social status in Chinese society from traditional models to modern socio-cultural transformations based on the results of the Ukrainian-Chinese project.The methodology of the article is based on a combination of empirical (observation, description, generalization) and theoretical (analysis, synthesis, induction, deduction) methods, which allowed for a comprehensive interdisciplinary analysis of the transformation of women's social status in China. The hermeneutic method allowed us to interpret traditional philosophical ideas about femininity (Confucianism, Taoism), and the systemic approach allowed us to understand the role of women as an element of a complex socio-cultural structure. The comparative historical analysis revealed the dynamics of gender changes from imperial times to the present, and the content analysis of modern media allowed to assess the representation of the female image in the information space of China.Scientific novelty. In the Ukrainian scientific discourse, a comprehensive study of changes in women's gender roles (on the example of China) in the context of the transition from traditional to modern socio-cultural practices has been carried out, and the definition of the dynamics of women's emancipation has been further developed, revealing the modern image of women as active participants in public and cultural life.Conclusions. The social status of women in China is undergoing profound changes under the influence of modernization, although traditional norms still have a significant impact. Confucianism and Taoism have shaped patriarchal ideas that legitimized social inequality. Despite legislative initiatives, women face discrimination, stereotypes and pressure to fulfil family roles. The beauty industry has a significant influence, dictating standards of female behavior. At the same time, there is an increase in women's social activity, economic independence and participation in public space. Achieving true gender equality requires not only legal support but also a rethinking of cultural and educational strategies. The modern Chinese woman increasingly embodies a new model of an active social subject capable of changing society.

MYTHOLOGICAL BELIEFS AS THE BASIS OF ETHNIC CULTURAL CODES

Andriy POTSELUIKO — 2025-06-26

The purpose of the study is to reconstruct the deep basis of Ukrainian pre-Christian cultural codes by identifying archaic Indo-European mythological structures, relics of which have been preserved in the Ukrainian ethnomythological heritage, as well as to determine their specific features and semantic essence. The methodology of the study combines the methods of comparative Indo-European mythology, namely, Georges Dumasil's theory of the trichotomous socio- functional structure of Indo-European ideology, structural semiotics, and structural anthropology, which allowed us to outline the specific features of common Indo-European mythological structures. Scientific novelty. On the basis of a comprehensive analysis of the works of comparative mythologists, the author outlines the pan-Indo-European mythological structures that reflect ancient religious beliefs and identifies the socio-functional archetypes of the «priest», «sorcerer-chief», «sacred warrior-defender» and «warrior-beast». The author also proves the connection with these archetypes of the common Indo-European mytho-epic themes of «opposition of the ethics of heroism to the ethics of profit», «three sins of the warrior», «interfunctional conflict», and traces them as the basis of the folklore tradition, which is a form of transmission from generation to generation within an ethnic community of religious, social and cultural experience, an evolving and self-organizing system that develops authentic and assimilates externally acquired (infiltrated) elements, while retaining its invariant features that define its identity. It is concluded that, based on a comprehensive analysis of the works of leading experts in the field of Indo-European cultural comparative studies, it is established that mythology is the oldest ideological formation of a syncretic nature, in which elements of religion, philosophy, science, and art in their infancy are intertwined. One of the richest and most colorful sources for studying the culture and worldview of an ethnic group is mythology, legends and legends of the past. Thanks to mythology, we learn about the deep origins of the spirituality and beliefs of our ancestors.

INTERPRETATION OF UKRAINIAN MODERNISM OF THE 20TH CENTURY IN THE WORLD ARTISTIC PROCESS

Igor TVORONOVYCH — 2025-06-26

The article examines the development of modernist trends in the art and architecture of Kyiv in the second half of the 20th century. It examines the departure from the Empire style and the formation of new architectural forms under the influence of general trends and local characteristics. Special attention is paid to the analysis of the iconic architectural objects of Kyiv of this period, in particular the Faculty of Architecture of the KNUBA, the Central Bus Station, and the UkrINTEI building. Their role in shaping the city's unique architectural landscape and reflecting the stylistic features of modernism is emphasized.In Kyiv, iconic buildings appeared that reflected the spirit of the era, such as the Palace «Ukraine», the hotel «Salyut», and individual residential areas.Architects experimented with forms and space, sometimes with elements of brutalism.In art, the search for new forms of expression continued in painting, sculpture, and graphics, and the development of abstract art was observed.In addition, the article examines the processes that took place in the art of Kyiv during this period. The tendencies of the development of the "stern style" and unofficial art, their contribution to the enrichment of the cultural life of the city and the expansion of the boundaries of artistic expression are analyzed.Modernism in Kyiv developed under difficult conditions of ideological control, but at the same time became a period of active creative searches, the emergence of original architectural and artistic works that reflect the spirit of the era.The work emphasizes the importance of preserving and understanding the heritage of this period for the modern cultural development of the city.Kyiv modernism of the second half of the 20th century is a complex and ambiguous phenomenon. It developed under conditions of ideological control, but at the same time demonstrated a desire for innovation, functionality, and original expression. The architectural and artistic works of this period are an important part of Kyiv's cultural heritage, reflecting the spirit of the era and the creative pursuits of artists.Today, these objects need to be understood, preserved and integrated into the modern urban space as evidence of a unique stage in the history of Kyiv culture.

USING DIGITAL TECHNOLOGIES TO PRESERVE, PROMOTE, AND RESTORE WORKS OF ART, MUSEUM EXHIBITS, AND IMMOVABLE CULTURAL HERITAGE SITES

Artur AROIAN — 2025-06-26

The article highlights the main ways of using digital technologies to record and preserve cultural heritage objects.There are analyzed requirements for photographing works of art and studio conditions. There are identified examples of technologies for digitizing immovable cultural heritage objects are given, and the advantages and disadvantages of each of them. Authors disclose the specifics of creating a model of a museum exhibit based on photogrammetry. The algorithm of work is presented and the main difficulties in working with a three-dimensional model of an object are described in this article. The article shows sequence of execution of the digital version of objects. The examples of three- dimensional models of The Vasyl Krychevsky Poltava Local Lore Museum`s exhibits are shown in this work. This article reveals the problematic aspects of geometry construction. The authors propose the methods of their solution.The goal of the work is a comprehensive description of the available methods, taking into account their advantages and problematic aspects for solving various tasks. The main attention focuses to the issue of compliance with the main task of digitizing the object and the selection of technology and algorithm for its application.The main methodology of this study is a comprehensive approach based on the analysis of global and Ukrainian examples of digitization of monuments. The authors analyze the most common methods of digitizing cultural heritage objects and identify areas where each of them is most appropriate. The scientific novelty of this study is the disclosure of technological features of photographing works of art, and the introduction of methods for modeling museum exhibits based on photogrammetry. For the first time, introduce into scientific circulation the modern experience in reproducing in the form of three-dimensional models of exhibits of The Vasyl Krychevsky Poltava Local Lore Museum. The conclusions summarize the main approaches to using digital technologies in the specified topic and reveal the prospects for further research in this area.

THE WORK OF FRANZ CHERNYAK AS AN ARTISTIC REFLECTION OF THE TRANSFORMATION OF TRADITIONS OF THE UKRAINIAN ARTISTIC SPACE

Oleksandr BERLACH — 2025-06-26

The research is devoted to the analysis of the creativity of the Ukrainian master of vomiting glass of Slovak origin of Franz Chernyak, a bright representative of the art elite of Ukraine. A number of sources related to the peculiarities of artistic and critical understanding of complex creative processes inherent in Franz Chernyak. The relevance of the Gutna Glass in the creation of interesting images that have deep philosophical sound and great resonance in the world crisis is emphasized.The purpose of the article is to analyze the work of Franz Chernyak as an artistic reflection of the transformation of traditions of the Ukrainian art space.The research methodology is accepted. It includes both general scientific methods – analysis, synthesis, interdisciplinary methods – comparison, systematization, and special methods – data collection method, photo fixation. In particular, the method of analysis was used in the consideration of the theoretical foundations of the master's creativity, synthesis – in order to generalize Franz Chernyak's creative work; comparison-to determine the features in the stylistic and technical and technological study of the works of dwarf glass; systematic – during the classification of creative work as an integral component of the artistic process; The data collection method allowed you to obtain detailed information on the direct accounting of works of art – review, measurement, ideas, design and compositional decisions; Photo Fixation – to identify the master's works.The scientific novelty of the results obtained is determined by the solution of the tasks set in the article, which are characterized by the first analyzed and classified works of Gutna glass of Franz Chernyak and systematizing them according to stylistic analysis.Conclusions. Scientific intelligence is devoted to the study of Franz Chernyak's work as an artistic reflection of the traditions of Ukrainian artistic space, the study and attribution of the master's works. The attribution was performed on the basis of comprehensive analysis, both stylistic and technical and technological research. The auxiliary role was played by a source analysis.Attention is focused on the domination of a wide range of ideas in the creative work of the master. It is proved that the artist's creative inheritance in Ukrainian guts is presented quantitatively and deeply ideologically and difficult to classify.The works of fantasy, mythical, surreal and allegorical themes are filled with humor and extraordinary aestheticism.Work with anthropomorphic motifs is highlighted. It is noted that the plastic of forms that are based on a circle, a cylinder, a bullet occupies an important place. Also highlighted a group of works of rowing glass is based on the construction of which is the sophistication of the composition composed of an ovоіd form. These simple geometric shapes are favorite and dominant in the artist's plastic. The focus is on such a classification of works, which mostly does not exhaust the amount of creative work of the master. The embodiment of creative ideas in the works of the master states and authoritatively declares that Franz Chernyak loves and respects tradition, at the same time he realizes that conservatism in "folk art" is his collapse, but not standard.Therefore, it proves that the creativity of the Gutniki was deprived of deliberate archaization. The artist believes that the apology of tradition is one of the characteristic features of provinciality.The properties of creativity, which is based on the philosophical understanding of being, expressed in a special artistic form, they are unique, so Franz Chernyak tries to recreate images in a strictly individual, inherent master form.The results obtained are relevant and important for understanding the development of the Ukrainian tradition of decorating art glass, they can be used as an example for a further systematic study of the development of hazel industries in Ukraine.

FEATURES OF HUMAN IMAGE FORMATION IN UKRAINIAN PERIODICAL PUBLICATIONS OF LVIV DURING THE INTERWAR PERIOD OF THE 20TH CENTURY IN THE CONTEXT OF ART DECO STYLISTICS

Anzhela HOMZIAK — 2025-06-26

This article is dedicated to the study of the human image in the graphics of Ukrainian periodicals from interwar Lviv. It examines the artistic solutions and compositional features of graphics in newspapers and magazines, both in the internal structure of the publication and on its cover.Research Objective: The aim of the study is to identify and analyze the compositional and figurative characteristics of graphic art with stylistic features of Art Deco, with particular focus on approaches to depicting the human figure within the structure of Ukrainian periodicals published in Lviv during the interwar period of the 20th century.Research Methodology: The methodology of the study incorporates both general scientific and specialized methods.In the analysis of literature and empirical material, synthesis, comparative, and typological methods served as the primary approaches. To identify figurative and compositional characteristics, the study employed compositional analysis, visual- graphic analysis, as well as comparative and descriptive methods.Scientific Novelty: The scientific novelty of the research lies in a comprehensive analysis of Ukrainian periodicals published in Lviv during the interwar period of the 20th century, specifically in the exploration of the compositional principles underlying the portrayal of the human figure in graphic works exhibiting features of the Art Deco style. The study examines key strategies of human representation, as well as the principles, tools, and techniques employed in the creation of graphic compositions based on anthropomorphic motifs. Conclusions: Based on compositional analysis, the following methods of interpreting the human image are highlighted: the use of an athletic and slender physique; geometric wavy lines with rounded angles that followed a clear geometric structure, distinct silhouette-spots maintaining proportions, exaggeration of certain body parts: length of legs, neck, or waist in female images, but without disrupting the overall silhouette configurations; a tendency towards geometrization of form. Furthermore, the study emphasizes the role of compositional techniques and means used to create the human image and establish visual contact between the graphics in periodicals and the recipient of the visual message. It was found that graphics with features of Art Deco style are legible, characterized by restrained ornamentation, and are easily and quickly perceived due to the use of simple and clear forms, silhouette generalization, preservation of anthropomorphic features and proportions, along with the ability for effective hyperbolization of certain body parts. In this way, simple means such as rhythm and contrast, the use of monochrome spots, stimulate the viewer’s attention and create lasting impressions in memory, while the reproduction of advertising graphics of the same type across different publications with periodic repetition reinforces these images in memory. The perspective for further research on image creation in Ukrainian periodicals from interwar Lviv lies in studying the features of form creation of zoomorphic and bionic motifs in this type of graphics within the context of Art Deco stylistics, utilizing the main principles in scientific research on visual design and art history.

AESTHETICS OF GRAFFITI INSCRIPTIONS AS A REFLECTION ON THE VISUAL ENVIRONMENT OF THE CITY

Elizaveta PANDYREVA — 2025-06-26

The article examines the practice of aesthetising graffiti inscriptions as a reflection on the industrial era of the twentieth century in the urban environment. The purpose of the study is to investigate the peculiarities of the aesthetics of graffiti inscriptions as a reflection on the visual environment of the city. The methodology is based on a systematic analytical approach. The study applies general scientific (theoretical and empirical) and special art historical methods of scientific knowledge. The integrated use of general scientific theoretical and empirical methods of scientific knowledge made it possible to analyse the visual range of graffiti inscriptions and to study the aesthetics of graffiti inscriptions.The scientific novelty was focused on the fact that graffiti artists see urban space through the prism of certain planes, the rhythm of shapes, lines, and colours that serve as a place to create their inscriptions. This position leads to an active practice of aestheticising the urban environment, which gives the urban space artistic expressiveness, changing its visual appearance and forming new visual accents. In the second half of the twentieth century, there were trends that reflected the crisis of the industrial era in graffiti inscriptions through a specific letter form and the internal content of these inscriptions: deliberate deformation of the letter grapheme, complex interweaving of letter forms, collage or additional decoration of the inscription. The article emphasises the urban context, as it gives graffiti a «street feel». The complex use of general scientific theoretical and empirical methods of scientific knowledge made it possible to analyse the visual range of graffiti works and to explore the aesthetics of inscriptions in the visual environment.Conclusions. Graffiti is becoming a sign of a heterogeneous signal of our time, when artistic styles and urban context are mixed to convey complex cultural and social messages. Such trends lead to a break with traditional forms and the creation of new distorted and often deformed inscriptions, which is a kind of «rebellion against» the urban environment.

FEATURES OF UKRAINIAN PYSANKAS AND LITHUANIAN MARGUČIAI: TYPES AND TECHNIQUES OF CREATION

Maryna PONOMARENKO — 2025-06-26

The article presents a comparative analysis of Ukrainian pysanka and Lithuanian margučiai. It examines the peculiarities of the terminology and semantics of the names 'pysanka', 'margutis', 'Easter egg'; identifies common and distinctive techniques, the difference in the tools used, which determine the basis of the visual lexicon: techniques and pictorial elements of Ukrainian pysanka and Lithuanian margučiai. The purpose of the article is to study the artistic and stylistic features of Ukrainian pysanka and Lithuanian margučiai; to identify common and distinctive features in the technique, tools and materials used. The aims and objectives of the study determined the use of comparative studies, historical and comparative analysis as the main research methods. The scientific novelty of the study lies in the fact that for the first time the terminology, classification, technical, technological and stylistic features of Ukrainian and Lithuanian Easter eggs are compared. The study concludes that the names 'pysanka' and 'margutis' have a common basis with the original meaning 'to make colourful, to decorate', which is explained by the fact that the Ukrainian and Lithuanian languages belong to the common Indo-European language family. It is argued that the names 'pysanka' (margutis) and 'Easter egg' are not synonymous, since they have different semantic codes rooted in opposite worldview paradigms: pagan mythological and religious Christian. It is argued that the names 'pysanka' (margutis) and 'Easter egg' are not synonymous, as they have different semantic codes rooted in opposite worldview paradigms: pagan mythological and religious Christian. It was found that the traditional types of ceremonial eggs common in Ukraine: krashanka, krapanka, pysanka and driapanka are available in Lithuania (except for krapanka). Instead, Easter eggs painted with wax, which is not removed, are widespread in Lithuania; in Ukraine, this type of Easter egg is used in the culture of certain ethnic groups of the Carpathians.

REGIONAL DIFFERENCES IN THE BLACKSMITHING ART OF BUKOVYNA AT THE END OF THE 20TH ‒ THE FIRST QUARTER OF THE 21ST CENTURY

Ilya POPIUK — 2025-06-26

This publication examines the specifics of the development of artistic blacksmithing in the Bukovyna region in recent decades in the context of determining its place in the Ukrainian art of forged plastic. The purpose of the work. To analyze the typological and stylistic features of blacksmithing in Bukovyna in comparison with the progress of this type of decorative art in other regions of Ukraine. Scientific novelty. This study provides a description of the work of blacksmith artists, firms, and workshops, and reveals the sign system used by the masters. Methodology. In the process of studying the topic, various principles and research methods were applied: the principle of systematicity, the method of art historical analysis made it possible to determine stylistic features inherent in the works of individual authors and the artistic metal of the region in general. Conclusions. The consideration of the differences in the plastic solution of the works of Bukovyna blacksmithing, as a significant component of modern applied art, is based on the analysis of a significant number of products, made mostly for the urban environment (decoration of public buildings, parks, squares, private buildings).The use of geometric, animalistic or associative decor in the works of blacksmiths not only harmoniously combines with the construction of buildings, but also testifies to the personal artistic preferences of the authors, determining the stylistic features of the works, contributing to the recognition of their manner of execution. This is manifested both in the application of certain technical methods and in the structure of the composition, the interpretation of motifs, and the plasticity of forged works. Modern blacksmithing of Bukovyna often combines elements and forms inherent in various types of art, and the desire to preserve the authentic appearance of forged plastic and the use of traditional ornaments is combined with innovative searches (wall pannels by O. Didyk, works by S. Kovaluk, K. Kravchuk). A. Hort and I. Verenko use the heritage of Secession in their work, O. Zhebchuk interprets Art Deco motifs. The variety of implementation of ideas is marked by the products of private workshops: I. Tsurkan, „Style Lux“ by I. Bombushkar, „Hephaestus“. An important feature of the modern artistic process is the annual (until 2022) holding of blacksmithing festivals, which brings Chernivtsi into contact with other cities of Ukraine, in particular, Ivano-Frankivsk, Lviv, introduces foreign blacksmiths to the work of Bukovyna authors and promotes the exchange of experience between them.

COLOR AS A TOOL FOR THE DRAMA OF AN ARTISTIC IMAGE IN PAINTING

Tetiana PROKOPOVYCH — 2025-06-26

Color in painting is more than just a visual component – it is a powerful tool for influencing emotions, capable of fundamentally transforming the perception of an artwork, enriching its meaning, and emphasizing the dramatic tone of the artistic image. Depending on the interplay of shades, contrasts, intensity, and the interaction of light and shadow, color can evoke anxiety, excitement, sadness, inspiration, or awe. It is color that transforms an image on canvas from a simple visual representation into a psychologically profound expression, capable of directly addressing the viewer’s inner world. In painting, color becomes a language of emotions that needs no translation and is understood intuitively.The aim of this article is to analyze how color functions in the context of dramatization in painting, to trace its role in creating emotional tension, tragic moods, or internal conflict, and to identify the features of its use in the works of artists from different historical periods. Particular attention is given to color techniques that allow the artist to go beyond the visual and appeal to sensory and emotional perception.The methodology is based on a set of methods and principles that encompass art historical, psychological, semiotic, and historical-cultural approaches. The art historical approach considers the artwork as a visual construction, taking into account color palettes, composition, contrast elements, light and shadow, and rhythm. The psychological approach focuses on the study of the emotional and psychological impact of color on the viewer. The semiotic analysis interprets color as a sign system that carries symbolic meaning within the context of a given era or culture. The historical-cultural approach explores color within the framework of aesthetic, philosophical, and sociocultural ideas of a specific historical period. Comparative analysis is used to juxtapose the works of different artists, schools, or epochs to identify common and distinctive approaches to the use of color as a tool of dramatization.The scientific novelty of this research lies in its comprehensive interdisciplinary approach to analyzing color as a cornerstone of dramatization in the visual arts. Within this framework, color is regarded not merely as a compositional element or expressive technique, but as a multidimensional sign system with psychological, semiotic, and cultural-historical dimensions.Conclusions: In contemporary art, the issue of emotional expressiveness remains highly relevant. Amid the ongoing evolution of artistic forms and styles, color retains its universal ability to influence the viewer, continuing to function as a language that speaks to the deepest layers of consciousness. This makes it not only an aesthetic but also a psychological factor of artistic expression, which deserves dedicated and in-depth study.

PLOT-THEMATIC PICTURE: CURRENT ISSUES OF THE EFFECTIVENESS AND CREATION ALGORITHM

Mykhailo SYDOR — 2025-06-26

The author’s vision of the essence of the «subject-thematic painting» is highlighted in the context of considering its natural foundations, formation and development in the Ukrainian artistic environment, the leading functions and tasks of such works, mainly in the field of painting, in modern times are outlined. In determining the specifics of creating a subject-thematic painting, an analysis of the effective algorithm of such a process is carried out, its appropriate actions are described from the very moment of the emergence of a creative idea, its presentation by the author for processing to the last operations of arranging the work, giving it a neat aesthetic appearance.The purpose of the article – is to determine the current aspects of the effectiveness of a plot-thematic painting in the present time, to outline and analyse the factors that influence the process of performing such a work of painting from beginning to end, and to provide conditions for the high-quality implementation of the author’s idea.Methodology. The mechanism for considering the issues raised is built on the basis of a comprehensive analysis of the essence of the plot-thematic picture, the factors of its effectiveness and aspects of functioning. The main methods of conducting research are search-bibliographic, historical, art history, observation, artistic analysis, synthesis and generalization, abstraction, differentiation, systematization, comparative, and integration.Scientific novelty. An attempt has been made to comprehensively characterize the essence, principles of creation and functions of a subject-thematic painting as a type and genre of fine art, and its relevance in the present day has been determined. It has been shown that in the genre structure of fine art, a subject-thematic painting appears as a special complex genre, within which the narratives of those classical established genres are integrated, which make it possible to reproduce human relationships, events, actions and phenomena with the participation of people. The key positions within the framework of building an algorithm for the artist’s work on a subject-thematic painting, its real execution from beginning to end, are outlined.Conclusions. It is emphasized that the reproduction of actions and scenes of human life, events and phenomena with the participation of people is characteristic of works of various genres. It is shown that the high degree of presentation of such narratives is characterized by the plot-thematic picture. It is stated that today it has completely lost its «primary spirit», cherished in the style of socialist realism, has become filled with democratic sentiments, an objective transfer of the realities of life, human relationships, actions, etc. It is argued that due to their complex nature, both as a type of implementation of artistic creativity and as an integrated genre of fine art, such works today perform important tasks – they raise urgent life issues, consolidate the people, the nation, and promote true narratives of building a sovereign peace-loving state.

"LIVING CRAFTS": TRADITIONAL DECORATIVE ART IN THE MUSEUM SPACE

Lyudmyla TYKHONOVA — 2025-06-26

Purpose of the study. This article analyzes the exhibition project “Living Crafts”, implemented by the National Museum of Decorative Art of Ukraine from March to June 2025, as a tool for the preservation and promotion of intangible cultural heritage. It explores the historical context of Ukrainian craft development from the late 19th to the early 21st century, the impact of social transformations on traditional forms of decorative art, and current challenges in their safeguarding.Special attention is given to the museum representation of 19 elements from the National Inventory of Intangible Cultural Heritage of Ukraine, including textiles, embroidery, ceramics, decorative painting, pysanka-making, and beadwork. The study emphasizes the role of the museum as a platform for intergenerational dialogue, cultural identification, and support of living traditions. Using an interdisciplinary approach, the exhibition's potential is examined in terms of shaping national identity, supporting artisans, engaging audiences, and creating sustainable models for the protection of intangible cultural heritage.Methodology. The study applies an interdisciplinary approach that combines elements of art history, ethnography, museum studies, and legal aspects of intangible cultural heritage protection. The main methods include literature analysis, comparative-analytical method, as well as interviews and surveys.Scientific novelty of the research. The scientific novelty of this research lies in the comprehensive analysis of exhibition activity as a tool for the preservation, promotion, and interpretation of intangible cultural heritage in Ukraine, based on the case of the “Living Crafts” exhibition. For the first time, a thorough examination has been conducted of the museum representation of elements from the National Inventory of ICH, in combination with the interpretive, educational, and institutional functions of the museum in a contemporary context.Key aspects of novelty:− Identification of the interconnection between exhibition practices and the formation of national identity in the context of globalization and cultural transformation; − Unveiling the potential of exhibitions as platforms for intergenerational dialogue and cultural renewal of traditions; − Analysis of the museum approach to the safeguarding of intangible heritage through inventorying, educational programs, and the inclusion of tradition bearers in the exhibition process; − Assessment of traditional crafts as a living knowledge system with not only aesthetic but also deep socio-cultural and symbolic significance.Conclusions. The presentation of intangible cultural heritage in the museum space plays a crucial role in preserving and transmitting the cultural code of a nation. Through the exhibition “Living Crafts”, the museum fulfills not only its research mission but also its educational and communicative functions. By applying an inclusive approach and highlighting regional crafts, the exhibition contributes to the formation of national identity, intergenerational dialogue, and the popularization of authentic traditions in the modern world.

INNOVATIVE TECHNOLOGIES AND MODERN APPROACHES IN THE MANUFACTURE OF PAPIER MACHE PRODUCTS: FROM TRADITION TO MODERN DESIGN

Maxim FEDOSENKO — 2025-06-26

Purpose. The purpose of this research is to analyze modern technologies for creating papier-mâché objects in the context of their application in design and to identify the prospects for developing this technique as a direction in sustainable and eco-oriented design. Particular attention is paid to the integration of traditional artisanal practices with contemporary artistic and technological approaches, which allows expanding the material's usage in various areas of activity.Methodology. The study is based on a comprehensive analysis of theoretical sources, art criticism, design case studies, and author's experimental practices. The methods include visual analysis of objects, comparative analysis of traditional and modern techniques, as well as empirical research through the creation of original papier-mâché objects using recycled materials, non-traditional binders, and modified production processes. The analysis is conducted through the lens of creativity and technological innovations.Scientific novelty. The scientific novelty lies in identifying new areas of application for papier-mâché in modern design: from product and interior design to conceptual art. A classification of approaches to creating contemporary papier-mâché objects is proposed, based on criteria such as technological accessibility, ecological impact, and artistic expressiveness. The study highlights the potential of papier-mâché as a sustainable alternative to synthetic materials in object design, which is particularly relevant in the context of environmentally friendly design practices. The research also outlines areas that open new opportunities for artists and designers.Conclusions. Papier-mâché, a technique with a rich historical background, demonstrates strong potential in the modern context for reviving traditional art forms while simultaneously promoting innovative design solutions. Contemporary technologies significantly expand the range of applications for this technique, especially through the integration of new materials, adaptation to digital approaches, and alignment with sustainability principles. The findings are practically valuable for educators, designers, art students, and researchers in the field of decorative and applied arts, aiming to combine traditional technologies with new trends in creative practices.