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The article analyzes the master-class as a methodological activity, it’s effect on the individual performer’s creative growth and interpretation process.
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The article analyzes the master-class as a methodological activity, it’s effect on the individual performer’s creative growth and interpretation process.
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In state studied diplomacy and patronage activities of A.K. Razumovsky, presented information about his artistic activities, described in detail his contributions to the development of European and Ukrainian music in particular.
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The article analyzes the principles of explication of intentional connotation senses in the modern music culture, defines features of the intentional musical art. The analysis is based on the chamber-instrumental works by ukrainian composer Oleksander Shchetynskyj, written on the border of XX-XXI centuries, and on the basic principles of intentionalism.
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The article considered features of the Romantic theatricality through a factor of the game appeared in the philosophy, the sociology, the cultural, by which to come in sight prominent music works of the romantic composers of the first half of the XIX century.
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In the article a concept of "religious feeling" in the context of aesthetically beautiful looks of N. Medtner and as an object of nostalgia of composer is analysed.
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Analising the "Requiem by Holodomour’s victims", comparative characteristic this work with the spiritual concert "Dream" by I. Scherbakov and "Stabat Mater" by Y. Laniuk the incarnation of Holodomour’s problem in choral works of the modern Ukrainian composers is investigated. Common and individual style features of every composer are found. The form system’s variety connected with compound time-spase perseption in creator’s imagination is a feature of postmodern epoch.
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The historical conditions of emergence of video clips are considered, artistic and aesthetic features of music videos are researched, the phenomenon of "clipping installation" are analyzed, existing classifications of video clips are submitted in the article.
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This article is devoted to the analysis of features of the interpretation of the silence as by one of specific existential forms of the presentation of minimalism in musical creativity.
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Actuality of the article are consists of creative the famous Ukrainian composer’s at the XIX-th century, which development into the complicated history and cultural condition’s. It is characterize of the basis achievement in to the branch chamber and vocal music of the Ukrainian composer’s M.Verbytsky, S.Gulak-Artemovsky, V.Zarembu, M.Kolathevsky, O.Nyzhankivsky, D.Sithinsky, P.Sokalsky, also founder of the Ukrainian music M.Lysenko in the context of national culturality during the XX century. In addition, an author puts by a purpose term paper to consider features and historical stages of development of the Ukrainian musical art of the XX century, and also specific of forming of Ukrainian vocal school of this period. All these questions of charakterycal in the system of studies of art and Ukrainian study researches on principles of theoretical methodology.
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Specificity of the performance embodiment opens interpretative resources of the embodiment on the stage of this token composition in the composer’s oeuvre. The author of the article examines the style peculiarities of B. Bartok’s music language, the features of the composer’s chamber instrumental style in the context of the performance specificity. The author's performance version (performances of Joseph Sigeti, violin, Ben Goodman, clarinet, and Bela Bartok, pianoforte) has been the research basis of this cycle performance peculiarities. It was recorded on the 13th of May in New York.
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This article deals with the problems of the work of contemporary composers in song genre. Also it studies the tendencies in contemporary musical culture, the formation of new cultural dominants and their influence on contemporary authors. Music-education system is analyzed as a structure that promotes the development of Ukrainian music industry.
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In article discusses repertoire of Ternopil Regional Music and Drama Theatre named of T. G. Shevchenko (now Ternopil Regional Academic Ukrainian Drama Theater named of T. G. Shevchenko) Soviet period. Analyzed theater repertoire policy according to the political and socio-cultural transformations in Ukraine.
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The new specific trends appear in opus-music ХХ age in formation, which need for rapt attentions. Theorist-methdological experience semiotics-aesthetic analysis of the music form is analysed in article. It proven that music form there is first of all logical design of the music, which will localize and regularizes time.
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The article highlights the Ukrainian Club activities in terms of organization concerts. Generalized and systematized information on some music events held by this association during its functioning.
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Серед діячів української культури кінця XX – початку XXI ст. почесне місце належить Юрію Антоновичу Рудчуку (1945–2012). Кандидат мистецтвознавства, доктор філософії (Ph. D.), доцент, останні роки Юрій Антонович працював на посаді професора кафедри теоретичної, практичної культурології і музикознавства Національної академії керівних кадрів культури і мистецтв. Харизматична особистість Ю. Рудчука проявилася у багатьох сферах діяльності: концертно-виконавській, науковій, педагогічній, навчально-методичній, культурно-громадській. До кола його наукових інтересів входили історія та теорія духової музики, українська музична культура доби Гетьманщини XVII–XVIII ст., проблеми розвитку професійного виконавства, пріоритети мистецької освіти в системі національних ВНЗ, історичні та культурно-мистецькі процеси в Україні початку XXI ст.
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Початок ХХІ століття позначений новим сплеском відродження української культури, що пов’язано з осмисленням стану, існування, подальшого розвитку й шанування різних видів художньої творчості, серед яких музичне мистецтво займає особливе місце. Музична культура Криворіжжя заслуговує на увагу як складова української культури сьогодення.
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For the first time the modern view of the problems of formation and development of spectacles operettas in the Theatre Opera and ballet of Dnipropetrovsk.
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In the article bandleader-choral activity of the prominent Ukrainian composer Stanislas Lyudkevicha is reflected with choir "Lvov Boyan" at the end of ХІХ – at the beginning of ХХ ages. A repertoire which executed "Lvov Boyan" under the direction of Lyudkevicha and appearances of this collective in villages and cities of Galichina and Bukovina is analysed.
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In this article the provide theme is the salon art’s meaning as progressive link of quartet’s performances development. Salon Art phenomenon is typical for European, Russian and Ukrainian romantically art. Its potential in the context of contemporary art and cultural tendencies can realized more plenty in the quartet’s performance.
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Problem of the semiotic unit is analysed in sonor technician in context of the analysis of the least structured unit of music semiosis in article. Establish a fact that sonor, alongside with other music sign, turns out to be lexical-grammatical grain of the semiotic structure of the music.
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