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Mokinių pažangos ir pasiekimų vertinimas: būsimų muzikos pedagogų požiūrio analizė

Author(s): Asta Kriščiūnaitė,Diana Strakšienė / Language(s): Lithuanian Issue: 33/2014

The article deals with the approach of future music pedagogues towards the assessment of the student progress and achievement in the contemporary process of musical education. The main focus is on the mark as having a metaphysical effect on the student, and a successful music lesson. The research enabled to indicate that future music pedagogues evaluate the assessment of the student progress and achievement as one of the key components in the educational process, as well as the means that enable to evaluate the student’s knowledge, encouraging the competition among students, forming the teacher’s authority, making influence on the inherent features of a student, adjusting the pace of learning / teaching, its content, class discipline, and preserving the status of the school. Such approach does not correspond to the aims of educational process based on the contemporary ideas and adversely affects the aim of the Lithuanian education system to be reoriented to the more attractive contemporary education models which help to foster the student’s emotional awareness, critical approach, free choice, creativity, suitable moral attitudes, etc

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Kūrinio suvokimo svarba muzikos mokytojo darbe

Author(s): Saulius Gerulis,Dėja Aukštkalnytė / Language(s): Lithuanian Issue: 11/2003

In the present society of information a sagacity of different scientific trends is closely interacting and interweaving. Great possibilities show up for comparison the ideas and statements prevailing in various sciences in different periods. The paper makes an attempt to elucidate some theory ideas of perception of the music crystallized in phenomenology and hermeneutics. Some aspects of the defined problems are as follows.

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Lietuvių muzikos tautiškumo problema. Pietryčių Lietuvos liaudies melodijos XX a. I pusės fonografo įrašuose

Author(s): Austė Nakienė / Language(s): Lithuanian Issue: 5/2006

In this article, several issues are discussed and related, namely, the phonograph recordings that have recently started being released with Lithuanian folk music from the first half of the 20th century; the folk melodies of the South Eastern Lithuania and the impact from the melodies of the eastern neighbors observed; the formation of professional Lithuanian music, a considerable part of which comprised harmonized folksongs in the beginning of the 20th century. According to the author, the first sound documents were recorded at the turning point, when the centuries-long formation of the Lithuanian folk music dialects was over and the decline of the regional differences started. However, folk music dialects did not vanish without the trace, but were integrated into the professional music culture instead. The change of the Lithuanian music culture in the first half of the 20th century was not a spontaneous process, as the ethnologists and composers began influencing the continuation or break in the traditions. The article is based on the sound recordings, collections of the folk music, the ethno-musicological research, and the written heritage of Eduard Wolter, Aukusti Robert Niemi, Jonas Basanavičius, Mikalojus Konstantinas Čiurlionis, Jonas Balys and Zenonas Slaviūnas.

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Būsimųjų muzikos mokytojų komunikaciniai mokėjimai

Author(s): Dėja Aukštkalnytė / Language(s): Lithuanian Issue: 9/2002

One of the most important principle of Lithuanian school reform nowadays and principal improvement of teacher-pupil relations is fostering of optimal pedagogical communication of future teachers. The research object of the article were peculiarities and development of communication skills of future music teachers.

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Музыка в мире героя, герой в мире музыки: роман Людмилы Улицкой «Зеленый шатер»

Author(s): Tünde Szabó / Language(s): Russian Issue: 2/2021

The article examines the musical component in L. Ulitskaya’s novel The Big Green Tent. The first part provides an overview of those musical elements – realities, prototypes of individual characters and pretexts with musical themes, with the help of which an autonomous world and the image of one of the main characters of the work are created. The second part analyzes a fragment of the novel, which mixes musical and literary principles of text organization and creates a multidimensional connection with S. Rakhmaninoff's Symphonic Dances. The analysis shows that the musical component in Ulitskaya's novel performs a double function – constructing one of the plot lines and musicalizing certain fragments of the text.

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Сучасні медіа-ресурси у комунікативній системі виконавця-акордеоніста

Author(s): Daryna Oleksandrivna Bendas / Language(s): Ukrainian Issue: 4/2021

The purpose of the Article. The article is devoted to the study of modern media resources as ways of communication between an accordionist-performer and the audience on the example of using the world’s most popular social networks: Facebook, YouTube, Instagram. The research methodology involves the use of methods of analysis and synthesis, systematization, generalization. Scientific novelty. Defining the components of the digital compass of a domestic accordionist in the context of the digital strategy of Europe. Conclusions. The study showed that in the creative activity of musicians, including accordionists, there is a rapid development of the latest means of communication. The online media, which are most often used in the music sphere, are characterized, the specifics of the content of popular social networks depending on the target audience are analyzed on specific examples. The main problems associated with the use of the latest methods of communication by domestic artists have been identified: a lower level of activity in the Internet space compared to foreign artists, as well as a "digital divide" between different generations. The "Digital Compass of a Modern Accordionist" has been proposed as a tool for solving the above problems, and its components have been identified.

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Музично-театральна рефлексія творчого феномену М. М. Синельникова: культурологічний вимір

Author(s): Liudmyla Timofeevna Lukasheva,Svіtlana Nikolaevna Sadovenko / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to carry out a culturological dimension and define as a synthetic phenomenon the musical-theatrical aspect of the artistic activity of the outstanding actor, director, theater teacher, and entrepreneur Mykola Mykolayovych Sinelnikov (late 19th – early 20th century). The methodology of research is based on the use of a complex of general scientific and specific scientific methods in accordance with the cultural discourse. In order to study the problem in a historical sequence, the historical method was applied. Setting the goal of illumination and analytical measurement of the constituent components of the problem under study, the system-analytical method is applied. The system-structural method is used to study a cultural phenomenon as a system of interrelated and interacting elements. The hermeneutic method is used to study and interpret the theoretical provisions of the problem under study. In order to study the life path of a creative person, illuminate her inner world, and understand the motives of her activity, the biographical method is used. The generalization method was applied to determine the general conclusions of the study. The scientific novelty lies in the musical and theatrical reflection of the creative phenomenon of the outstanding artist-reformer of the late 19th – early 20th centuries Mykola Sinelnikov. Conclusions. Consideration of the issue raised in the article made it possible to state the importance of the presentation of the creative practice of N.N. Sinelnikov as a representative of musical and theatrical syncretism. Research of the phenomenon of N.N. Sinelnikov made it possible to illuminate the system of artistic principles of the creator, which fully corresponded to the nature and content of the modern era. It was determined that the musical and theatrical segments of N.N. Sinelnikov’s works are harmonious integrity, that is, they represent musical and theatrical syncretism.

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Вплив джазово-музичних форм на естрадно-пісенну культуру

Author(s): Ivan Vasyliovych Bobul / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to identify the main trends in the influence of jazz and music forms on pop culture. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical, and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty of the work is to generalize the problems of interaction and influence of jazz features of vocals on the development of pop vocals, expanding knowledge about the development of pop and song culture in general. Conclusions. The formation of pop singing is inextricably linked with the widespread of music halls, variety shows, cabaret, pop theaters, and more. By the end of the twentieth century, the media, the Internet, and screen culture led to the spread of pop vocals on a new level and pop singing became an integral part of everyday life. All these aspects and features of the jazz genre-style system had an indirect impact on the work of composers who turned to songwriting in the pop sphere, considered jazz as a mediator between "serious" and light musical forms while giving jazz techniques creative and methodological potential. Understanding the music culture of specific pop-jazz types (genres) of modern music influences the understanding of pop, pop vocals, and pop-jazz music as a phenomenon of art.

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Social and cultural project aspects on the example of musical and circus art project "Circle"

Author(s): Nina Vyacheslavovna Araya Berrios / Language(s): English Issue: 4/2021

The purpose of the article. Identify the background of social and cultural project aspects in modern European cultural integration in Ukraine based on the activities of the Kyiv Municipal Academy of Circus and Performing Arts; to outline the European integration vectors of performative cultural creation in Ukraine of the XXI century; to consider culture as a condition and a term of solving problems and tasks that are in other planes of social and individual life. The aim of the article is to analyze the musical and circus art project "Circle", which aims to combine and interact with traditional and innovative artistic trends by integrating them into a common and integral cultural area. The aim of the article is to analyze the music and circus art project "Circle", which aims is to combine and interact with traditional and innovative artistic trends by integrating them into a common and integral cultural space. The peculiarity of the work is the analysis of the phenomenon of "social and cultural project aspects", how it is reflected in the artistic area and how it affects culture in general. It is proved that in this context the starting point of cultural creation and formation of cultural norms and values is the activity of the educational institution, which affects the development of infrastructure and improvement of social and cultural space. Tasks: to identify the roots of social and cultural project aspects of modern European integration culture in Ukraine based on the activities of the Kyiv Municipal Academy of Circus and Performing Arts; to outline the European integration vectors of performative cultural creation in Ukraine of the XXI century; to consider culture as a condition and a means of solving problems and tasks that are in other planes of social and individual life. Methodology. The research is based on an interdisciplinary approach using the methods of historicism, scientific retrospection, personology, source study approach, and the method of theoretical generalization. The scientific novelty of the research is that the historical facts concerning the Kyiv Municipal Academy of Circus and Performing Arts, about its cultural and creative activity on the example of the music and circus art project "Circle" are collected and systematized. The significance of international collaboration for the further development of European integration processes in Ukraine of the XXI century is proved, the European integration cultural creation in Ukraine is investigated on the example of the music and circus art project "Circle". Conclusions. All-Ukrainian and international creative projects in the context of social and cultural project aspects are aimed at reproducing and preserving culture by internalizing cultural values, replicating the best ideas, attracting new technologies for cultural development in general as a basis for interpersonal and international communication. Creating and supporting art projects is one of the main tasks of cultural policy in educating the next generation of citizens with a clear cultural and national identity, which will further increase the cultural potential of the nation and the presentation of art projects in the international arena.

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Наративна сутність мовного контенту у висловленні композитором оцінки власної творчості

Author(s): Victor Ivanovich Stepurko / Language(s): Ukrainian Issue: 4/2021

The purpose of the article is to investigate the narratives of contemporary Ukrainian composers in the context of their assessment of their own work and the actual existing musicological components of each work: its purpose, the whole conglomeration of musical means of expression, and their multidimensional and multifunctional context. Attention is focused on the problem of inconsistency of the author's linguistic content in expressing his own ideas about his work, with the actual state of affairs, in terms of musicological logic, psychology, etc. The research methodology is based on the analysis of the sphere of expression of human thinking by R. Bart, K. Bremon, F. Jameson, T. Tytarenko, Ts. Todorov, E. Tshebinski and others. Also, studies by G. Gadamer, M. Heidegger, P. Reeker, R. Harre, which consider the narrative as a discursive structure, formed on the basis of their own experience. In the field of musical art, the problem of narratology is paid attention to in the works of N. Gerasimova-Persidskaya, O. Zinkevych, Y. Chekan, and some other musicologists. Scientific novelty. For the first time in the work a comparative analysis of the subjective-authorial understanding of composers of the narratives of their own work with the musicological, culturological, and socio-political context of the existence of the individual, to establish the artistic conceptuality of some of their works. Conclusions. It is established that the assimilation and awareness of meaning are possible only through certain messages that can have many meanings, and decoding them together can take any form. Thus, at the junction of the meanings of the narrator and the listener, his interpretive understanding appears, which becomes the basis of the final conclusion.

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Пісенний жанр у творчості українських композиторів першої половини хх століття: крізь призму фольклору, кітчу та шлягеру

Author(s): Taras Mykolayovych Dubrovnyj / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to consider the development of the genre of the song of the first half of the twentieth century. The methodology of the research is based on the historical and cultural and artistic methods of studying the genre of the song. The scientific novelty is to consider the genre of the song at different stages of its development (from folklore, amateur level, Kitsch, Biedermeier to a mass song, samples of socialist realist kitsch, pop culture, hits, etc.). Conclusion. The genre of songs during the first half of the twentieth century became one of the binding links of the "low" and "high" culture and due to its availability and easier perception, with frequent use of techniques and methods of Kitch, which later fallen the basis of pop culture, enabled the birth of such a The phenomenon as a hide, separate samples of which became a "classic", are popular today, taking their niche in the treasury of national musical culture.

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Реалізація ідей життєтворчості в науковій та культурно-освітній діяльності мирослави качур

Author(s): Lesya Mykhaylivna Mykulanynets / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to reveal the specifics of M. Kachur's scientific, cultural, and educational practice in the discourse of realization of life creative ideas, to highlight the significance of the artist‘s achievements in the development of Ukrainian civilization processes. The methodology consists of the application of biographical, analytical, historical, systemic approaches, which allowed to comprehensively mastering the main directions of M. Kachur's creativity, to determine their influence on the national culture. Scientific novelty. In the article, for the first time, the achievements of M. Kachur in measuring the implementation of life-creating tasks are explained. Conclusions. M. Kachur's professional practice is the sphere of realization of creative life ideas. They were formed during student years, deepened throughout professional activities, underwent transformations and in accordance with the innovations of humanistic tendencies, were completed in multifaceted areas of work. Mrs. Kachur's work has several main lines: scientific - research of music education problems, articles, and theses reviewing, management of diploma studios, etc.; pedagogical - teaching in educational institutions of different levels (school, college, university, teacher training courses), preparation of methodical publications, repertoire collections, etc.; cultural and organizational - management the structural units of the university, establishing partnerships with leading institutions of higher education; holding conferences, forums, master classes, seminars with the involvement of leader Ukrainian scientists, performers; membership in the jury of competitions, festivals; conducting public social actions, projects, etc. The essential qualities of Myroslava Mykhailivna's artistic life are systematic analysis of reality, conscious direction of efforts to its creative transformation; active interaction with the environment; productivity which manifested itself in solid achievements in all areas of work; constant improvement of own abilities, etc. M. Kachur's creative life significantly influenced the national cultural progress. Many years of master‘s successful work is a response to the current humanitarian challenges of the time. The achievements of this personality contributed to the solution of many educational problems, were used in the teaching of her students, who based on the principles of their mentor were producing their own methods and approaches to the content of modern music education.

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Підготовка викладачів музичного мистецтва у класі вокального ансамблю

Author(s): Svіtlana Valeriyivna Svitylo / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to consider the methodological aspects of training music teachers in the class of a vocal ensemble. thanks to which they acquire skills and abilities that are logically correlated with vocal and pedagogical, choir tasks. It is emphasized that the main and specific component of his professional competence is primarily the ability to perform music, including vocal, which is the basis of his work on the musical development of members of a vocal ensemble or choir. The task is to reveal the main methodological aspects that are important in the process of ensemble performance, in particular, to achieve coherence, the balance of all components, harmonious sound of parts, individual vocalists, the whole group while singing. The methodology of the article is theoretical methods of analysis and synthesis, which characterize the main components of the role of each type of ensemble (intonation, metrorhythmic, diction), their organic combination, revealed the features of individual types of ensemble, the role and significance of each. It is noted that the pop vocal ensemble has specific features that characterize it as a kind of modern musical performance. He represents a new style in popular music, new forms of collective vocal performance (female, male, mixed; vocal-instrumental ensembles, rock bands, and pop groups, etc.). The scientific novelty of the work is the focus on the methods of working with a vocal group that seeks to develop their own, individual manner of performance. Conclusions. The rapid development of pop vocal performance, solo, and the ensemble has contributed to the fact that in recent decades in Ukraine has expanded the network of higher educational institutions for music and pedagogical training in "specialty singing", which provides the possibility of their professional activities as performers in vocal ensembles and, at the same time, as leaders of such collectives. and this requires proper methodological support of the educational process in institutions of higher professional education.

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Естрадно-вокальне мистецтво в контексті розвитку масової культури

Author(s): Ivan Vasyliovych Bobul / Language(s): Ukrainian Issue: 3/2021

The aim of the work is to study pop and vocal art in the context of the development of mass culture, which is genetically determined and mediated by a number of its characteristics and traits. The research methodology involves recourse to an interdisciplinary approach, as well as the use of comparative, historical and logical methods of analysis and culturological approach in the study of these issues. The scientific novelty lies in the expansion of information on the development of pop and vocal art in the context of mass culture and the mediation of its main characteristics by the formats of mass art. Conclusions. The study found that the modern system of pop art, combined with the show business, reflects the state, trends and prospects of pop music, which can be improved by understanding the sociocultural significance of mass culture and popular art, as well as a developed sense of responsibility the creators of mass culture. The development of musical variety should be based on the generalization of previous creative experience and inherited compositional and performing traditions. The current realities of socio-cultural life determine the fact that the substantive and professional components of pop music should be based on both traditional artistic and aesthetic ideas and the search for new views on art, relevant to modern trends, tendencies and spiritual needs of society. The intensification of the musical-performing process leads to the discovery of new horizons of mastering the artistic and creative space, which, in turn, will help update the paradigm of pop art, focusing on modern pop music as an important phenomenon of socio-cultural life.

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Te Deum для змішаного хору a’cappella Дмитра Стецюка в контексті сучасної Української духовної музики

Author(s): Mykhailo Petrovich Tyshchenko / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is the insert to the scientific research the complete analysis of masterpiece by known Ukrainian composer Dmytro Stetsiuk Te Deum for mixed choir a capella and draw the attention of the choir conductors, who would like to insert to their music collectives a masterpiece, written in the tendencies of modern music and that can be performed either in the liturgy or in concerts. The methodology of the exploration is based on the combination of the general scientific (historical and comparative) and special musicological( of the genre, general and the dramaturgical-intonational analysis), that gives the opportunity to regard the historical basics of the Catholic liturgic tradition, and from another side-see the ways of its development and renovation. Scientific Novelty. The research is the first analysis of Te Deum for the mixed choir in the context of the modern tendencies of Ukrainian composers. Conclusions. The analysis of Te Deum for the mixed choir a capeella by Dmytro Stetsiuk in the context of religious music and in the sphere of the creative search of the modern Ukrainian composers proves the fact, that this masterpiece is written in the liturgic tradition and develops it in the intonational side. Componist completely uses the canonic text, but gives his own regard for it, also understanding of the main idea. The traditional melody of Te Deum from one side gives the unity of the composition, from another gives the basics for the modern stylization, because of intonation, voice tembre (the unity of the different groups of the choir), harmonical, factual (harmony and polyphony). This way are revealed individual traits of the composer and also the modern regard on the medieval liturgic text. The exploration of the masterpiece`s score gives the reason to be sure, that it is not only in the liturgical tradition, but also can be performed in the concert hall.

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Традиціоналізм у складі стильової парадигми мистецького мислення ХХ століття

Author(s): Lyudmila Alexandrovna Ivanova / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is a realization of tradiтionalism as mеtаdirection of art in XX century that historically comparable with mеtаdirection of styles modern-vanguard, jointly forming artistic paradigm of the past century, then the last becomes firmly established in nеоrеnaissаnce world-outlook according to with "system of Leonardo da Vinci" P. Valéry. The methodology of the study is a historian-cомpаrаtive approach, as this demonstrates works of A.Losev, also culturology foreshortening of musicology analysis, as this is given in "Symphonic etude" and others beside B.Asafiev. The scientific novelty of the work is conditioned, first, that that for the first time in specified foreshortening is presented analysis composition of V.Vlasov, but, secondly, original is a theoretical idea about cultural intrusion in style-typology life length Neo-Gothic that impossible was in classicist of music creative activity to XIX-XX cent. Conclusions. Traditionalism forms mеtаdirection since in base this style unity prescribed expressiveness of romanticism-pоstromanticism and realism XIX century that forms analogies to mеtаstyle forming of the modernism (vеrism at the end XIX - at the beginning initially XX century, "hard" type of the neoclassicism I. Stravinsky and P. Hindemith, others), in which vanguard took place as focus of the symbiosis of the styles-directions expressionism, futurism, primitivism, having formed new unity of the vanguard of the second wave in the manner of nеоexpressionism.

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Сюїта Микити Кошкіна «Іграшки принца» у контексті динаміки оновлення гітарного мистецтва ХХ століття

Author(s): Mykhaylo Mikhailovich Tushchenko / Language(s): Ukrainian Issue: 3/2021

Purpose of the article is to study the nature of the embodiment of the peculiarities of the creative method of M. Koshkin in the «Prince's Toys» suite. Methodology. To solve the set tasks, genre-style analysis and executive analysis were used. Scientific novelty: this work is an illumination of the results of one's own experience in interpreting M. Koshkin's suite «The Prince's Toys» based on a combination of performing and research activities. Nikita Koshkin's guitar music is viewed in conjunction with the general dynamics of the 20th century's art renewal. Conclusions. When creating music for the guitar, the composer skillfully used the potential of this instrument. The work on the composition took into account the historical possibilities of the guitar in the performance of classical music, including the entire experience of the existence of a six-string guitar. The language of Koshkin's works always comes from the specifics of the guitar. The composer-guitarist uses all the resources of the instrument in order to create the effect of its versatility, to demonstrate the boundlessness of its possibilities.

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Музика в Українському балеті як музикознавча проблема: досвід та перспективи вивчення

Author(s): Vladyslava Viktorivna Aksiutina / Language(s): Ukrainian Issue: 3/2021

Purpose of the Article. The study of the source base on the issue of music in Ukrainian ballet to generalize the theoretical heritage and outline the prospects for further research on this issue. Methodology. The article is based on the analytical method of research, the method of systematization, and comparison. These methods allowed us to analyze the literature on the selected issues, to classify and compare its problem perspective. Scientific novelty. The scientific novelty is to compare the experience of studying the musical basis of ballet as an art problem in the traditional (experience) and innovative (perspective) sense with the obligatory parallel analysis of the choreographic component. Conclusions. Given the uneven coverage and study of musical and choreographic components of the ballet genre in scientific thought, it is appropriate for scientists to strive for a conscious in-depth study of those aspects of ballet that do not lie in the field of their specialization. Examples of works, where the ballet study as integrity, are the works of O. Afonina, O. Zavyalova, O. Karandeeva, D. Sharikov.

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«Мандри Сан Мао» Санбао: жанрова специфіка Китайського оригінального дитячого мюзиклу

Author(s): Zhaoyu Jiang / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to determine the genre specificity of the Chinese original children's musical Sanbao "The Wanderings of San Mao" (2011), created on the basis of Zhang Liping's (1940) comics of the same name. Methodology - historical, comparative, genre. The scientific novelty of the study lies in the establishment of genre specificity of the Chinese children's musical. Genre specificity of the Chinese children's musical is distinguished both by its audience purpose and by the reinterpreted implementation of the features of comics of the same name, the reliance on which determined the storyline, the image of the main character, the dramaturgical features of the stage work. The general genre features of comics and musicals are systematized, the influence of graphic and literary prototypes on the musical "The Wanderings of San Mao", observed in the system of genetic, historical, genre, and content prerequisites are revealed. The content commonality of comics and musicals is embodied, in particular, in their genre names, which reflect their inherent comedic origins. The historical unity of comics and musicals is due to their gaining popularity since the middle of the 19th century. From a genre point of view, comics (based on the union of graphics and literary text) and the musical (based on the interaction of comic opera and operetta, vaudeville and burlesque, show and variety, ballet and dramatic interlude) have a mixed nature. The Sanbao musical seems to absorb the constituent elements of comic opera, adding them to the context of other genre components of the theatrical whole. Since comics are a kind of literary genre, it becomes possible to interpret them as the libretto of a children's musical. The scene of the musical as a self-sufficient variety number is likened to a drawing from a comic strip, correlated with coherent plot development, the story of the hero's life set out in the short stories. Inheriting the nature of comics as a sequence of drawings, the Chinese children's musical appears as a kind of suite cycle of musical and dramatic scenesnovellas from the life of the protagonist. The discontinuity of the musical's scene-narratives is overcome, as in comic books, by the story of the main character's adventures and dreams unfolding through the story. The author contrasting pictures of the short story musical are united by a thorough plotline, the role of the principle of "three unities" (events take place during one day in the slums of old Shanghai, where a simple child's dream becomes unattainable). Conclusions. The genre peculiarity of the Chinese children's musical "The Wanderings of San Mao" is conditioned, firstly, by the specificity of the audience; secondly, by the embodiment of Zhang Liping's comic book features as a graphic-literary prototype of Sanbao's musical and stage work.

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Метри Українського дитячого хорового мистецтва: Елеонора Виноградова (з нагоди 90-ї річниці народження)

Author(s): Svitlana Alexandrovna Shcherbiі / Language(s): Ukrainian Issue: 3/2021

The purpose of the article is to analyze the creative activity of the outstanding representative of the national choral culture Eleonora Vinogradova. To substantiate the importance of the choral conductor's personality and its influence on the formation of modern children's choral performance. To outline the multifaceted activity of E. Vinogradova as a choral conductor, teacher, music, and public figure in the context of active universalism. Understand that the biography of a creative person is an expression of the most typical features of the era, its basic ideas, and is a reflection of historical and socio-cultural events. Methodology. Features of the biographical approach allow us to explore the artist's biography as a way of reconstructing the cultural-historical concept. A systematic chronological approach is being implemented. The scientific novelty lies in the expediency of research and replenishment of new facts of E. Vinogradova's biography from the point of view of the development of choral culture. An attempt was made to recreate for the first time, full of selfless work, the creative path of the artist with an awareness of the essential characteristics of a particular historical period, its culture. Conclusions. According to archival documents and other information sources, the process of formation and formation of professional principles, as well as stylistic features of E. Vinogradova's creative activity is analyzed. The leading sphere of creative activity is defined, namely, the activity of the choral conductor. It is emphasized that the outstanding choral conductor and teacher, the representative of the Kyiv conducting and choral school Eleonora Vinogradova is an active participant of the Ukrainian artistic life with high professional potential. The high cultural potential of the universal creative personality of the conductor-teacher in the processes of formation and development of the national musical culture is proved.

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