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Прибуткові будинки Kиєва як історичний об’єкт культурної спадщини: вулиця Cаксаганського

Author(s): Alla Putro / Language(s): Ukrainian Issue: 36/2016

The aim of the paper is a theoretical study of significant role of Kyiv lodging shaping in the late XIXth − early ХХth centuries. Rented apartment houses are exemplified as a historical object of cultural heritage. The object of the paper is an apartment house # 43 in Saksahanskoho street. The subject of the paper is an attempt to reveal the information about the rented apartment houses in Kyiv that have survived but not only exist in archival sources, their monument protective status. Residential housing of all historical periods of community development met the specific needs (comforts, safety, functionality, prestige, esthetics etc.) & fit into urban environment enriching it with its architectural & art image. Rented apartment house was widely spread in the late XIXth − early ХХth centuries in all European cities as the main type of lodging for middle class people. The history of rented apartment houses in Ukraine is more than one hundred years old. Such houses were principally built to provide lodging for those who came from other cities, towns & rural areas. It was the most widespread type of accommodation in the cities. In Kyiv the site coverage got a strong impact by 1890-s when the problem of lodging became crucial. During the so called building booms of 1895-1901 & 1907-1914 more than thousand multistory apartment houses were built in Kyiv. People leased flats bringing profit to a landlord. It was a sure method to provide a stable income. The history of the late XIXth − early ХХth centuries residential interior shaping & development is an integral part of Ukrainian architectural history & Kyiv historical past. Methodology of the paper includes the application of analytic & systematic methods of scientific & background materials as for the subject matter, source analysis − archival papers and maps of Kyiv, structural & comparative analysis. Complex & systems analysis enable to consider the object of the paper (rented apartment house) in various aspects (architectural, artistic & esthetic, historical & cultural) & to combine the aspects of object examination (rented apartment house − an architectural & artistic phenomenon of the late XIXth − early ХХth centuries in European cities, Kyiv in particular). In view of the interdisciplinary character of the paper, it is made on basis of historical & monument study methods. Scientific novelty of the paper is that together with the analytic summary of Kyiv rented apartment houses of the late XIXth − early ХХth centuries as the main element of urban background of that time, not only published materials are introduced but insufficiently known, comprehending personal observations on location. Conclusions. During the last years Kyiv got a tangible impact for an active building. Political changes & establishment of market principles in economics gave architects & builders new opportunities. Building boom in Kyiv connected with the spread of private investment, emphasized many issues as for the preservation & use of architectural heritage in the life of modern city. If in last decades of the ХХth century the construction of new buildings was mainly on white lands then nowadays the downtown is subjected to considerable changes (where most buildings were built in the age of classical capitalism). Kyiv site development of the late XIXth − early ХХth centuries is an important phenomenon & has historical & architectural value but beneath our very eyes vanishes into thin air.

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Нова драма як культурологічний чинник українсько-європейської театральної системи

Author(s): Ludmila Gurenko / Language(s): Ukrainian Issue: 36/2016

In the article the author researches issue of the new drama as a culturological-psychoanalytic factor of the Ukrainian European theatrical system of the end of XIX – the beginning of XX centuries. The main topics of the research are M. Voronyi’s articles «Drama of alive symbols» and «In the nets of lie». They show the increasing of critics’ intellectual experience concerning the individual experience of subjects. These works played a great role in reformation of the Ukrainian national theatre

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Ігровий вимір дозвілля: досвід опрацювання проблеми

Author(s): Eugeniia Sydorovska / Language(s): Ukrainian Issue: 36/2016

The study of leisure involves the study not only the characteristics of the correlation of leisure time and activities, and games and activities, “games as a fact of life”. The problem of the game actualizes throughout the twentieth century and early twenty-first – becomes the cornerstone. The processes that occur in the culture lately, as in Ukraine so in the world, give every reason to believe that it is time “virtual life”. In other words, the boundary between game and reality, or rather realities, almost no. It actualizes the need to study the phenomenon of the game. The game is one of the key concepts of cultural studies. Game as a phenomenon of culture teaches, develops, educates, helps to socialize, entertain, give rest, and she parodies, ironic laughs, publicly demonstrates the relativity of social status. Of course, culture cannot be reduced to the game and vice versa. Inside there are fundamental differences of culture between irrational (games) and documentary (rational) activities, especially between work and game. The article summaries the concept of the game phenomenon. Revealed the relationship of “Homo ludens” – leisure time.

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Концерт як форма репрезентації музики у соціокультурній системі західної європи: етапи становлення

Author(s): Veronica Levko / Language(s): Ukrainian Issue: 36/2016

In the article, the author highlights the basic stages of formation the concert as a form of public representation of music in the XVII - XIX centuries. Based on historical discourse of the concert as artistic action in the Western European cultural space, it is singled out the basic components of the concert as part of the cultural and artistic life and as a form of public representation of music. The grounds for classification concerts from its earliest to the latest forms are analysed.

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Stravinsky’s dialogicity

Author(s): Valery Glivinsky / Language(s): English Issue: 29/2016

Stravinsky’s dialogicity is considered in the article in the broader cultural context of the era of "the end of the Renaissance and the crisis of humanism" (N. Berdyaev). The activation of dialogical potencies in European culture from the late 19th and early 20th centuries found in the works of Russian masters the most complete and consistent objectification. Stravinsky's cultural "standing outside" (M. Bakhtin), cultural "wandering" (V. Bibler) turn him into a personification of the creative universality of the 20th century.

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Італійська опера Одеси 1825–1831 рр.: антреприза без антрепренера

Author(s): Konstantyn Batsak / Language(s): Ukrainian Issue: 27/2015

The Odessa Italian opera theatre as the unique art phenomenon in the territory of Ukraine became the object of many scientific studies attention, mainly, of regional ones, since a century before last. It is often mentioned in the contemporaries’ memoirs, literary and art works. The researchers’ interest to this topic is alive until today. Some of the plots, which are devoted to the local Italian opera of the second half 20 – the beginning 30s, have been worked out at monographic investigations of Odessa musical culture and theatre life, the history of the Odessa Opera House, and in the biographic studies dedicated to the Italian culture personality in Ukraine. Though some of directions of the Odessa Italian opera house activity have been profoundly investigated there are still unclear many problems connected with the formation of repertoire, a personal casts, and also the troupe financial support. In addition, little attention has been paid to the presentation of the local authorities efforts, particularly of the governor general M.Vorontsov’s ones, on the everyday life improvement and creation of the conditions for the actors’ and musicians’ successful professional activities. The Italian opera significance for Odessa cultural contacts development with the Apennines musical culture centres has not completely investigated.

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SVANTESSON, JAN-OLOF (ed., transl.): Cornelius Rahmn’s Kalmuck Dictionary.

Author(s): Attila Rákos / Language(s): English Issue: 4/2015

Svantesson, Jan-Olof (ed., transl.) "Cornelius Rahmn’s Kalmuck Dictionary."; Wiesbaden, Harrassowitz Verlag, 2012 (Turcologica, 93). 199 pp. ISBN 978-3-447-06690-7

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KALMYK AND KHALKHA ETHNOGRAPHICA IN GÁBOR BÁLINT OF SZENTKATOLNA’S MANUSCRIPTS (1871–1873)

Author(s): Ágnes Birtalan / Language(s): English Issue: 3/2015

The Hungarian (Székely) Gábor Bálint of Szentkatolna (1844–1913) was one of the first researchers of Kalmyk and Khalkha vernacular language, folklore and ethnography. His valuable records are written in a very accurate transcription and include the specimens of Kalmyk and Khalkha spoken languages, folklore material and ethnographic narratives, and a comparative grammar of western and eastern Mongolian languages. Bálint’s manuscripts had not been released until recent years when Ágnes Birtalan published his Comparative Grammar in 2009 and the Kalmyk corpus with a comprehensive analysis in 2011. The present article aims to give an introduction to Bálint’s ethnographic materials recorded among the Kalmyks (1871–1872) and Khalkhas (1873). Despite the similar economic and cultural milieu the two ethnic groups lived in, there is considerable difference between the Kalmyk and Khalkha text corpora. Besides presenting and systematising Bálint’s ethnographic material, I shall try to clarify the reason why this significant divergence emerges between the two text corpora. Specimens of a particular phase of the wedding ceremony are represented as examples from both text corpora.

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THE INSTITUTION OF WAQF OF MUSLIM TATARS IN HISTORICAL RETROSPECT

Author(s): Minnulin Zavdat Salimovich / Language(s): English Issue: 3/2015

The present article considers the evolution of the institution of waqf among the Kazan Tatars in the 19th and early 20th centuries. Basing on an analysis of different sources and secondary literature, the author tries to point out the fallacy of some approaches claiming that the institution of waqf had legal status for the Kazan Tatars. On the contrary, an attempt is made to demonstrate that the interior policy of the Russian authorities aimed to oust the rules of Muslim law from the legal framework. Numerous attempts on the part of the Kazan Tatars to restore the institution of waqf proved unsuccessful owing to the resistance of the Russian authorities.

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Cazarma istorică „Fort 3 Otopeni”. O istorie fascinantă

Author(s): Ion Cerăceanu / Language(s): Romanian Issue: 5-6/2017

With a history of over 130 years, Fort 3 Otopeni was one of the 18 forts known as the Fortifications of Bucharest. The construction of these defences, which began in 1884, represented a huge effort for the newly independent Romania. Covering a perimeter of approximately 72 kilometres around Bucharest, there was one fort every four kilometres. The article below details the history of Fort 3 Otopeni, which went through as many transformations as Romania itself.

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A Hungarian war hero, factory founder and refugee in the United States — Tivadar Rombauer

Author(s): Jin-Il Yoo,Pal Koudela / Language(s): English Issue: 1/2016

Tivadar Rombauer was a less well-known, but important personality in Hungarian history. His entrepreneur career contains several business and technological innovations in iron industry, among which the foundation of the Metallurgical Factory in Ózd stands out. During the Revolution and War of Independence his role for managing arms supply nationwide is rarely emphasized by the regular commemorations of the most important historical momentum in Hungarian collective remembrance, although its relevance is undisputable. His Protestant Saxon origin interweaved with his patriotism resulted a typical Hungarian middle-class civic virtue, which never disappeared in later generations in the US, after his obligate immigration. In this study we scope on both the origins and infl uence of this value system detailing Rombauer’s life-span, complemented with the family roots and some descendants’ fates.

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Sartorial heroism and nation-building: Female cross-dressing in nineteenth-century Hungarian fiction (a case study)

Author(s): Zsuzsa Török / Language(s): English Issue: 1/2016

The article investigates the uses of the motif of the Warrior Women in János Arany’s epic poetry. The author of the article claims that the motif of the Warrior Women in Arany’s poetical discourse stemmed from the romantic literary tradition of the 1820‒1830s. Furthermore, she argues that an old Scottish ballad, purportedly known by János Arany, provided the pattern that had been imitated by the Hungarian poet. Hence, the romantic image of the Hungarian Warrior Woman has become a highly symbolic and propagandistic content in Arany’s poetry during the 1850s. It reveals a genuine nineteenth-century endeavour of the nation-building process in order to promote the nation’s ready-to-fight patriotic women as models to be followed.

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Ethnographic Accounts of Visitors from the Austro-Hungarian Monarchy to the Asian Peripheries of Russia and Their Contribution to the Development of Systematic Ethnological Studies in the Monarchy: Preliminary Results and Research Perspectives

Author(s): Csaba Mészáros,Stefan Krist,Vsevolod Bashkuev,Luboš Bělka,Zsófia Hacsek,Zoltán Nagy,István Sántha,Ildikó Sz. Kristóf / Language(s): English Issue: 2/2017

The authors intend to provide an overview of the diaries, travelogues, and correspondence of Austro-Hungarians who traveled to the Asian peripheries of Russia during the Dual Monarchy. We aim to contribute to ongoing discussions on colonial discourses of otherness, as well as to the historical development of ethnographic scholarship in Europe. Travel writing, orientalism, and colonial encounters with Asian otherness are closely intermingling phenomena in the modern era. We argue that the rich corpus of visual and verbal representations of North-, Central-, and Inner-Asian peoples recorded by the subjects of the Dual Monarchy provides instructive examples of colonial encounters with non-colonizers in 19th century Asia. Furthermore, we believe that these examples will bring forth a more detailed picture of how the ideas born in the centers of German enlightenment (like Völkerkunde) impregnated the intellectual life of more peripheral regions in Europe. As ethnographic scholarship developed within national research traditions rather than in the frame of a monolithic, European intellectual project, our question is whether or not the Dual Monarchy provided a meaningful frame to bridge national research traditions.

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Din „memorialistica măruntă” a Revoluției de la 1848-1849 din Transilvania. Noi însemnări despre prefectul Avram Iancu

Author(s): Nicolae Dumbrăvescu / Language(s): Romanian Issue: 2/2017

The Transylvanian Romanian press from the second half of the 19th century and the first half of the 20th century represents an important source conserving narrative and documentary fonts related to the 1848-1849 Revolution from Transylvania and its leaders-Avram Iancu, Ioan Axente Sever, Simion Balint, Nicolae Vlăduțiu, Ioan Buteanu and others. As a result, through this study we aim at analyzing six writings belonging to the "overlooked memoirs" about the sir of the Apuseni Mountains which we have identified in Transilvania, Gazeta Transilvaniei and Familia and which were written or gathered up from the elders of the villages from the Apuseni Mountains by: Alexandru Ciura, I. Georgescu, Dionisie Pascuțiu, Constanța Hodoș, Iosif Sterca Șuluțiu and an anonymous memorialist. These writings of "overlooked memoirs" are meant to bring into spotlight a series of details about Avram Iancu's family, in particular about his father, his childhood, the studies followed at Zlatna, the revolutionary years and the last years of his life, years which Avram Iancu lived in poverty, often playing the flute.

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Considerații privind viața și activitatea unui cleric ortodox tansilvănean mai puțin cunoscut: George Proca (1869-1943)

Author(s): Răzvan Mihai Neagu / Language(s): Romanian Issue: 2/2017

George Proca (1869-1943) was a remarkable clergy personality from Transylvania in the second half of the nineteenth century and early twentieth century. He had a thorough educational training acquired in the Theological Institute of Arad and the Theological Faculty of the University of Chernivtsi. After returning from studies, he was for a period professor of theology in Arad and Sibiu. George Proca is known for his work in the church administration from Sibiu, where he was one of those who coordinated the proper functioning of Transylvania Metropoly. Since he was a student, George Proca involved in social and cultural activities, including numerous charities. Proca participated both before and after 1918 in the great events in the history of Transylvanian Orthodoxy. He was present in Oradea, in 1916, at the enthronement of the metropolite Vasile Mangra and he participated in Sibiu, in 1920, at the investiture of the metropolite Nicolae Balan. Throughout all his clerical career, George Proca honourably represented the Orthodox Church from Transylvania, appearing in the press of those days on many occasions alongside with great hierarchs of the era such as: the metropolite Nicolae Bălan, Andrei Magieru bishop of Arad, Iosif Traian Bădescu bishop of Caransebeş and many others. In the interwar period, George Proca represented the Archdiocese of Sibiu, leading the archpriests' elections in several cities in this ecclesiastical unit. George Proca was not spared by the tragedies of life. At the beginning of 1936, he lost his son, Zeno Proca, who died at the age of 30. In our opinion, George Proca was an outstanding cleric of the twentieth century, who accomplished his work in the Metropoly of Transylvania.

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Petru Maior. Prediche sau Învăţături la toate duminicile şi sărbătorile anului. Ediţie îngrijită de Laura Stanciu şi Alin-Mihai Gherman, Cluj-Napoca, Editura Mega, 2017, 557 p.

Author(s): Eva Mârza / Language(s): Romanian Issue: 2/2017

Restituirea operelor care fac organic parte dintr-o cultură naţională este îndatorirea cercetătorilor. Rezultatul acestui demers poate fi încadrat în categoria instrumentelor de lucru, dar şi în cea a lecturii agreabile şi instructive pentru cititorii contemporani, mai ales dacă avem în vedere dificultăţile create de utilizarea alfabetului chirilic, des întâlnit până spre sfârşitul secolului al XIX-lea, ceea ce este şi situaţia lucrării pe care o avem în faţă, adică Predicile lui Petru Maior. Privite din unghiuri diferite: istoric, literar, bibliologic - să rămâ- nem numai la cele trei segmente - aceste cărţi româneşti vechi, devenite astfel contemporane cu noi prin contribuţia autorilor din zilele noastre reprezintă un incontestabil câştig pentru public.

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Новий етап розвитку ліможської розписної емалі: ХІХ століття

Author(s): Oksana Zhyltsova / Language(s): Ukrainian Issue: 2/2014

This article reviews study and collecting of painted enamel of Limoges in the nineteenth century. It was second half of the nineteenth century that showed renewed interest in this rare technique. Overall, painted enamel is not studied enough as was indicated by both domestic and foreign researchers. Best collections of painted enamel are proudly presented by some of the largest and richest museums in the world: the Louvre, the Hermitage, the Metropolitan Museum of Art in New York. Painted enamel of Limoges has always been difficult and expensive technique popular far beyond France. Articles containing such work are considered valuable collector's pieces owned by known historical figures. As we know, Catherine de Medici ordered 39 oval panels for her palace Tyuilri and consumer portraits of Leonard Limozen were ordered by Henry II. Collectors of nineteenth century have readily exhibited works that belong to them at trade shows, social events, and often the formation and replenishment of collections also occurred due to such communication. It should be noted that "elite" collectors included also well-known philanthropist B.I. Khanenko. At the same time, we should notice opening of new shops for the production painted enamel of Limoges, so there is a considerable amount of styling and even imitations of old enamels. The vast majority of enamel articles of XIX century was made for needs of churches and monasteries. And also, very high quality fakes were made. The article presents examples of the production of works of the time, among which there are both styling and counterfeiting works XVI century. Artistic highly skilled Enamel works were made, including Louis Marcy (1865-1945) and his contemporary Simon-Emerique Pierrat. Louis Philippe Sevres factory set for the task: to find the secret of making painted Limoges enamels of XVI century. Francois Broniart was the director of Sevres manufactory from 1800 to 1847. He founded enamel on metal workshop in 1845 that worked to 1872. Of course, most of its products accounted for small works depicting allegorical scenes and grisaille or colored ornaments. Many enamel works have made it to head shops in Sevres Jakob Meyer-Heine. In the second half of XIX century, it was very popular to imitate art of the Renaissance. Among the painted enamel works of XIX century were styling and forgery. So, Museum of Arts and Crafts in Paris kept the "Escape Jonah" plate by Jakob Meyer-Heine, dating from 1851 year. Also, as an example, we can mention the work of Jean-Baptiste Philippe's "Allegory of Justice". Or, in the castle Fontainebleau there is the "Penicault" enamel that features 4 elements – earth, fire, water, air. Apparently, this product has its own character which distinguishes it from the XVI century enamels. Production of painted enamels was running through most of XIX century. Mostly, it was grisaille . Such high artistic and technical levels of painted enamels of the nineteenth century leads to the fact that today it is often difficult to distinguish articles of XVI century masters or their imitators. Even in museums, there are still works remaining which cannot be dated, produced possibly during Renaissance or 300 years later. Also typical for painted enamel is unique technology of hot enamel: a study with special tools, such as microscope, does not always provide an answer on the status and quality enamel. So, the popularity of painted enamels in the nineteenth century led not only to the formation of collections, but, in fact, to its revival. This process had great impact on followed jewellery. Urgency of studying history of collections of painted enamel works and its revival in the XIX century is important for the dating of existing works and promotion of museum's collections from different countries.

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Еволюція акордеонного мистецтва: історичний аспект

Author(s): Valeriy Marchenko / Language(s): Ukrainian Issue: 2/2014

This article traces the emergence and development of ways accordion in the world. It was found that the accordion is a keyboard-pneumatic instrument that belongs to the family of harmonics. It belongs to the class of instruments in which the sound stimulus acts metallic plate that vibrates when air pressure. In the article pioneers of this tool and its appearance is determined. The first tool was called "accordion" and was created in 1829 by the Vienna organ master, Cyril Demian. On the right side this tool has a keyboard, five keys that were given basic sounds in D major. On the left one the tool K is situated. Damien had five valves accompaniment that gave ten different chords. The process of improving the design of an accordion is the invention of "mutation" (a device that allowed disconnected ready chords from melodic sounds) and the first register, in which changed the tone. It marked the birth of the factory production of harmonics in Germany, France and Italy. Reported occurrence of harmonic variety called "harmoniyeflyut" with the keys on the right side, which were made based on the model of the piano keyboard. They were made by the Viennese master Matheus Bauer. Tools have a range of over three octaves and produced the appearance of accordion. Traced further improving the design of an accordion led to the creation in 1898 by the famous Italian master-designer Mariano Dallape, tool with the right type of piano keyboard and a complete set of chromatic baso-chordal accompaniment. The range of his accordion has about three octaves (g – e), on the left side of the keyboard, which consisted of a set of chromatic bass, major and minor triads, there were 48 buttons. Subsequently, a number of dominant seventh chords appeared. Such accordions got widespread in all European countries, the USA and Japan. It was found that the improvement of the design led the development of accordion repertoire for the instrument. At the beginning of the XX century it includes not only the works such as popular songs and dance genres (lyric songs, waltzes, marches, polkas, tango, foxtrot, two-step), but some samples of classical music. An accordion began being used as a solo and accompanying instrument in jazz orchestras and ensembles, but in the early 1930s it became a popular pop tool. The reasons for the large and rapid spread of the accordion in various countries are presented by scientists. They include the principles of sound features. The instruments is changing the air pressure by moving the tongue. There is also a change of intensity fluctuations you can get the sound of faint quiet to loud and sharp. The height of the sound does not change, the tools of this principle musicianship can to keep long array, regardless of temperature changes during operation and storage. Another reason is an accordion portability and relatively low complexity in learning the playing on this instrument. At the same time it is pointed out that despite of the extensive development of the accordion, the instrument has not yet received the recognition on of serious musical circles. The attempts of improvement of the accordion right keyboard revealed in the early XX century. It was found that there were accordions with two manual right the keyboard, which greatly enriched the artistic media tool. They performed transcriptions of classical music and pop compositions. In the 1920s, the accordion keyboard appeared and it was accompanied by commonplace and accordion layout. It is noted that the great interest to a wide audience, accordion caused due to the identity of the piano right keyboard. Therefore accordionists are t often former professional pianists, variety performances which helped popularize the instrument and identifying its new technical and artistic possibilities. The formation and development of repertoire for accordion are shown. It is emphasized that the improving the design of accordion, its great popularity around the world have contributed to the interest of professional composers of the tool and the creation of highly original accordion repertoire. It is noted that the modern accordion is a reed keyboard-pneumatic instrument with a full chromatic scale on the right keyboard, bass and ready (chord) or ready-elected accompaniment on the left. All over the world this tool has taken an important place in contemporary chamber academic culture and remains extremely popular in the amateur environment. It was found that the accordion has evolved from manual diatonic harmonica to the modern concert instrument with a large amplitude artistic and expressive, technical and timbre, acoustic qualities.

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Європейська музична соціологія першої половини ХХ століття: основні підходи та напрями розвитку

Author(s): Olga Dovgan / Language(s): Ukrainian Issue: 2/2013

The article considers the problem of research of the basic approaches and directions of the European sociology of music in the first half of the twentieth century. Based on analysis of Western European and Soviet traditions attempt to identify the general trends of the development of music sociology and outline conditions of its formation as a direction, describe its philosophical basis as the European tradition. Music is a form of self-assertion of individuality, which accompanies the changes in society. Music can be considered as a kind of "book of life" for all mankind and means of communication between the generations. Sociology of art was a scientific theory based on a synthesis of disciplines such as aesthetics, musicology, pedagogy, psychology. New approaches in the study of art began from O. Baumgarten and E. Kant. The real development of the sociology of art was in the XIX century under the influence of the philosophy of positivism, the founder of which was O. Kont. Due to the philosophy of Kont, social issues in art and man as a social problem became extremely relevant. In the end of XIX – beginning of XX century on the basis of positivism naturalism occurs as artistic direction. Naturalism as a literary tradition laid the foundations for the development of the sociology of art in artistic projections and strengthened attention to scientific problems that investigated these projections. A significant contribution to the development of the sociology of art was made by the representatives of the Italian verism. It was a realistic direction in Italian literature, music and fine art of the late XIX century. A typical reflection of veryzm in music were operas by P. Maskanyi, J. Puccini and R. Leoncavallo. So, the social problems in the art activates interest to the theory of art, to its theoretical problems. Music sociology understood within the history and theory of music, but its subject – not only the process of creating a piece of music, but also the future life of music in society, how it spreads and perceived. That is, the sociology of music has been the fate of a piece of music mostly after its completion, when it begins to function in society. In the early twentieth century European musical culture attained a high level of development. It was connected with the rapid processes of democratization and wide spread of art. At this time there is aggravation of social struggle, resulting in a crisis developing the relationship between art and the public. Music as an indispensable factor in social life attracted the attention of scientists. It contributed to the formation of a new conceptual apparatus and the formation of the main problems of sociology of music. During this period created works by C. Bellah, H. Kretzschmar, P. Becker. Twentieth years of the twentieth century – the period of accumulation of theoretical experience of research on the social functions of musical art, the specific circumstances of its life in society as in Western European and Soviet art sociology. Create works of K. Blesynher, M. Weber, articles by R. Rollan, G. Moser and Zh. Kombarye, A. Zilberman and others. From the twenties of the twentieth century, prominent Soviet musicologists, such as: A. Lunacharsky, B. Asafiev, B. Jaworski – also studied the basic problem of musical sociology. Soviet sociology of music composed as a separate branch that has formed different views on musical creativity based on musical theory. Its meaning is interpreted as a direct dependence of the changes taking place in society. In the 30-50s in the Soviet Union sociology of music was declared bourgeois science. It was under the ideological ban, but its interest in the problems do not disappear, but moved to the practical sphere of pedagogy. The situation changed only in the sixties of the twentieth century, when there were new conditions of social and cultural life associated with changes in policy, scientific and technological revolution, the growing influence of the media. This has led to a revival of the musical sociology. So, in the European sociology of the first half of the twentieth century, there are different approaches to the definition of a subject of musical sociology. Search and experiments European sociology of music art formed a sufficiently complex field of studies. Thus, we can identify the general trends of the development of European sociology of music: a study of the specifics of interdependence with other sciences, social function of music, structure of musical culture (public, economic and socio-psychological state of the composer and performers), the structure and behavior of the public of a musical life of different social groups, the relationship between music and media. So, social problems, which got more and more importance in the musical art and reflected in musical works, contributed to drawing attention of scientists at it as a theoretical problem.

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Внесок П.О. Куліша у діяльність Кирило-Мефодіївського товариства

Author(s): Svyatoslav Vovkun / Language(s): Ukrainian Issue: 1/2014

The paper considers that Kulish was not the only member of Cyril and Methodius, but also influenced the development of the ideological foundations of its policy documents, was one of the ideologues of Cyril Methodians sought to direct the organization’s activities for more active work for the benefit not only of Ukraine but of all the Slavic world. In a short period of Cyril and Methodius (January 1846p. – March 1847p.) The participants have been prepared and approved; "Charter of the Slavic Society of St. Cyril and Methodius", program "Genesis of the Ukrainian people", appeal "Ukrainian brothers!" and "Brothers Russians and Poles!". In addition, members of the Society had written many historical works, nonfiction and fiction, collected and published part number of folk songs, tales, legends, and ethnographic descriptions and more. Criticizing the monarchy and its feudal system, members of the Society made a number of ideas about replacing the new structure of society, which would find happiness Slavic peoples. The research question of the relation of the Society to the most important problems of the past and contemporary life shows that their views were an important milestone in the development of democratic Ukrainian historical science. Kulish considered by us as a member of Cyril and Methodius, the ideological foundations of program documents of a political organization carried her and taken literally as part meant a certain group or even a few people. In some cases, the views of two or three, and sometimes one of the members of the Association meet their common historical concept. Since Kulish considered by us as a member of Cyril and Methodius, ideological behinds program documents of political organization and carried on his outlook. However, staying in the Society P.Kulish some researchers have questioned, but more careful study of this problem allows us to assert that Kulish was a full member of the aforementioned Ukrainian secret organization, for which he suffered government penalties. The documents show that Kulish was not only a member of the Society, and actively influence of time on the stance of its participants. In letters to M.Kostomarov, M.Hulaka, V.Byelozerskoho, O.Markovycha and other members of Cyril and Methodius, he drew attention to the need to reinforce their creativework to study the history of Ukraine, its culture, protection of native speech. On his involvement with the Society Kulish in the autobiographical book "Kulysh Life" says: "Even when he was in Kiev when he held together how many friends; in this small community, we are first originated the idea-issuing of books required to self- ukrainian and building the common schools. The idea was tilted to some masters of this humanists and the lay the foundation of public education in Ukraine. Often wrote Kulish from the capital to Belozersky, then Kostomarova, then the other, keeping their spirits. And they are not the Cossacks were to be had from the prop. Sometimes they are accompanied and conducted extensive conversations about all Slavs. Kulish during the investigation, and later with his inconsistency in one case claimed that he was "a member of the Brotherhood", and that the community was going to "buy up all the Slavic nations in free union under the protection of the Russian Emperor" another – his involvement in clandestine political organizations objected, citing the fact that Cyril Methodians reasons for Ukraine saving it to your "brotherhood not barkers."" In our opinion, Kulish was not the only member of the Society, but also influenced the development of the ideological foundations of its policy documents, was one of the ideologues of Cyril Methodians sought to direct the activities of a more active benefit not only Ukraine, but also the entire Slavic world.

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