We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
Part of enterprises that were active during the time of Polish People’s Republic was fulfilling the role of an industrial art patrons, sponsoring and organising different types of artistic projects. The factories were however first and foremost obliged to fulfil the national industrial plans and their production norms, both of which could be impeded by their cultural and artistic activities. In this article the author poses a following question: why was it that the enterprises were sponsoring artistic events and how were they benefitting from it? To provide an answer, the author focused on three events under the industrial patronage – Biennale of Spatial Forms in Elbląg, 1st Symposium of Fine Artists and Scientists in Puławy as well as 1st Biennale of Metal Sculptures in Warsaw – and conducted an analysis of scientific and specialist literature on their topic. On this basis, the author drew the conclusion that the advantages related to the patronage had mostly a social character and resulted from building positive relations with the authorities, local communities and employees.
More...
The purpose of the article is to consider the challenges and opportunities facing art education in the context of globalisation and cultural transformations of modern times. The research methodology is based on the application of an analytical, synthetic, and cultural method, which allow a comprehensive consideration of the given problem and formulating well-founded conclusions. The scientific novelty consists in the systematisation and generalisation of the main trends and problems of the development of art education, mediated by the processes of globalisation and cultural transformations of our time. Conclusions. Based on the study of trends in the development of art education in the conditions of globalisation, their compliance with the requirements of the modern information space, the prospects for the development of art education are outlined, which consist in the deepening of interdisciplinary connections, innovation, creativity, the practical application of information technologies, which allow combining theoretical (scientific) and creative components in the learning process. The article argues that art education must be adapted to the challenges of globalisation and cultural transformations in order to meet the demands of the modern world.
More...
The purpose of the article is to substantiate the possibilities of using the international experience in the field of cultural and artistic practices as a humanitarian strategy for psychosocial support for children and youth in Ukraine under martial law, based on a cultural analysis of the implementation of the «Mobile Arts for Peace» (MAP) art project. The research methodology is to use interdisciplinary and comparative approaches to study the specifics of the therapeutic impact of various types of arts – theatre, music, visual arts, choreography in the implementation of international art projects in post-conflict societies. The main research methods are: the method of hermeneutic analysis – for the interpretation of works of art created within certain national cultures; the method of semiotic analysis –for revealing the meanings and values of artistic phenomena as sign systems; the method of psychological experiment – for analysing the results of using innovative artistic methods in the process of psychological support for project participants. The scientific novelty consists in summarising the international experience of developing and implementing the «Mobile Arts for Peace» art project in different countries of the world – Rwanda, Nepal, Indonesia, Kyrgyzstan; substantiating the possibilities of providing psychosocial support to participants in art projects as forms of cultural and artistic practices; identifying the features of the MAP project implementation based on the specifics of national cultural traditions, historical, and cultural memory, and the depth of cultural trauma in each society. Conclusions. The analysis of the process of implementing the «Mobile Arts for Peace» art project allowed us to summarise the international experience of engaging art as an effective tool for peacebuilding, establishing dialogue, and providing psychological assistance to societies in countries that have gone through various types of conflicts. The studied international experience can be successfully used to develop concepts, programs, and methodological recommendations adapted to the needs of Ukrainian society in the context of war.
More...
The purpose of the work is to indicate the compensatory content in Vasilkov's concept (according to A. Kanarskyi) of ritualbiblical traces in literary works and examples of fine art, based on a cultural approach to recognition. Research methodology is based on such methods as culturological interdisciplinary, analytical, comporative, historical and descriptive, art criticism and style, hermeneutic based on the aesthetics of Kanarskyi's compensatory. Scientific novelty of the research. For the first time in Ukraine, the positions of decoding biblical rituals in artistic actions were formulated on the basis of the philosophical concept of Kanarskyi’s recognition. Display in the concept of Durkheim, Vasilkov and Kanarsky in the art criticism dimension of the works of Shevchenko, Gogol and Storozhenko is also original. Conclusions. Approaches to the method of recognising biblical and ritual traces in the works of Shevchenko, Gogol and Storozhenko are outlined in the context of the ritual of sacrifice and hagiographic measurements of the presentation of the main character’s characteristics. Recognition of the compensatory action of transformationdematerialisation in Storozhenko's painting «Premonition of Golgotha» takes place through the use of the watercolor technique in oil painting. The ritual root in artistic acts is recognised, which makes it possible to realise the significance of the cultural influence of art without the participation of a special aesthetic and artistic principle of capturing the significance of creative products. As an action, biblical rituals nourish plot conflicts, which are considered as the actions of characters in literary works and fine arts. As an idea, biblical rituals fertilise the structure of the image, plastic-textured embodiment and compositional standards. As a symbol of sublime life activity, biblical rituals inspire the dramaturgy of comparisons, in contrast to the life-like "development" of the theatre. As a component of being, biblical ritual forms the basis of works of art and leads to the recognition of a ritual genesis in them, "fertilising" them with the content and density of the ideological and figurative expression.
More...
The purpose of the article is to analyse the semiotics of the body in visual culture of the late 20th and early 21st centuries using the example of fashion photography; to find out how the body has turned from a passive screen for displaying socially and culturally significant markers into an active agent of shaping fashion trends. The research methodology is based on a combination of different approaches to describing the semantic nuances of the body image in modern fashion photography. In particular, with the help of the historical and genealogical method, the evolution of the narrative focus of fashion photography is shown, since at first attention was paid first of all to the beauty of the thing being sold, then to the idealised body. A structural approach was applied to analyse the multiple contexts of fashion photography, such as the perception of a material thing, its photographic representation and expert review. All of them are components of the fashion discourse. Using the epistemological method, the semantics of the concepts of nakedness (as acquired vulnerability) and nudity (as harmonious integrity) are distinguished. The scientific novelty of the study consists in revealing numerous semiotic contexts of the phenomenon of nudity in fashion photography, which is always aestheticised compositionally, colouristically, and cosmetically depending on the cultural environment and cultural era, and therefore naked physicality is a discursive phenomenon, like fashion in general. Conclusions. Corporeality in fashion photography of the 20th century expresses the incessant processuality of postmodern semiosis – the recoding of the world of things into the dimension of signs. The human body becomes a screen for the projection of these signs, the principle of an ongoing game, the eternal engine of advertising discourse to multiplicate visual images. The devaluation of things in the European culture of mass consumption of the second half of the 20th century, caused by their overproduction, contributed to a change in the critical focus of fashion from the clothes in which the human body is wrapped to the body itself. Elitism is no longer defined as a set of precious or luxurious things that a person desires to own and that require a financial investment. Instead, the signifier of exclusivity in late modern Western society is a healthy and attractive body. It requires competent care, medicalisation, sports training, and, therefore, in addition to financial, also investments of time and knowledge. Thus, the fashion photography of the end of the 20th – the first quarter of the 21st century shows the shift in the focus of the fashion discourse from the aesthetics of things to the aesthetics of lifestyle and self-creation, for which the human body serves as a screen.
More...
The purpose of the work is to investigate the specifics of the impact of NFT technology on the state of art expertise in the organisation and implementation of virtual auction and gallery projects. The research methodology is based on the application of a systematic approach in the study of NFT technology on the analysis of aggregate methods, in particular art history, analytical, empirical, historical, comparative, synthesis, and modeling. The scientific novelty lies in the peculiarities of organising and conducting virtual galleries and auctions based on NFT technology in modern conditions. Practical and theoretical recommendations to specialists are developed for art critics for improving the methodological base, mastering new digital methods of auction and gallery activity in order to improve the level of qualification of art expert experts in the conditions of the unlimited dominance of digital technologies in the modern world. Conclusions. The rapid development of IT technologies in the modern world has led to a paradigm shift in traditional forms of organisation and conducting auction and gallery activities. This means that the art market is gradually moving from a traditional art market to a virtual one, where the exchange of classic works of art is replaced by the creation of semiartistic samples of works of art by famous authors, which transform into a new reality through the prism of digital technologies, in particular, through NFT technologies. This, in turn, leads to the distortion of the classical vision of works of art and their devaluation. The creativity of world-renowned authors is presented in a new digital reality, where works of art go through different stages of their interpretation depending on the subjective vision of the creators of digital art. That is, we observe how the new generation tries to deny classical art and offers to use digital technologies to create their own digital works of dubious quality. At the same time, the involvement of the latest digital technologies helped to qualitatively improve and reliably protect property rights in the field of copyrights for works of art with the help of SEO, cryptocurrency, blockchain network and ensure the reliability of transactions during auctions.
More...
The purpose of the article is through clarification of the «nonconformism» concept, to prove the appropriateness of using the term «trans-avant-garde» when describing the stylistics of the works of Ukrainian artists of the 1970s and 1980s, for whom the «canons» of socialist realism were foreign and unacceptable. Research methods are based on the fundamental principles of art analysis with the involvement of interdisciplinary connections (psychology, cultural studies, and philosophy). The method of epistemological analysis is used in the process of clarifying the concepts of a number of art historical concepts. System-analytical and comparative-historical methods are used to identify the Ukrainian artistic tradition as a special phenomenon of the European context. The scientific novelty of the study consists in clarifying the definition of the «nonconformism» concept, in substantiating it as a cultural and social phenomenon, and in proving the legality of using the term «transavant-garde» in relation to the stylistic definition of the works of Ukrainian nonconformist artists of the 1970s and 1980s. Conclusions. Having analysed the phenomenon of «nonconformism», having revealed its significance as a cultural and social movement of those who disagreed with the totalitarian system of Soviet society, the feasibility of using the concept of «trans-avant-garde» in relation to the works of Ukrainian artists of the 1970s and 1980s was established in connection with the fact that, like their Western European colleagues, they continued to develop in their work the significant achievements of domestic avant-garde artists of the first third of the 20th century.
More...
The purpose of the article is to reveal the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades. The research methodology. A set of methods typical for art analysis is applied. To study the peculiarities of the interpretation of Spanish dance in the choreographic productions by A. Gades, the problem-logical and general scientific method of modeling is applied, as well as the iconological method, that enabled a formal analysis and determination of symbolic meanings by revealing the national and cultural roots of the dance. Scientific novelty. The production activity of the leading Spanish choreographer Antonio Gades is studied; the peculiarities of the interpretation of Spanish dance in the process of working on stage productions are considered. For the first time in domestic art history, the choreographic performances by A. Hades «Blood Wedding, or Bodas de Sangre» («Blood Wedding, or Bodas de Sangre», 1974), «Flamenco Suite» («Flamenco Suite», 1989), «Fuenteovejuna» («Fuenteovejuna», 1994) are analysed. Conclusions. The study of the productions by A. Hades revealed a peculiar choreographic handwriting, the originality of the choreographer's decision and the individuality of plastic interpretations of Spanish dances. In the process of creating choreographic productions full of conceptual unity and depth, the master positions Spanish dance as a universal style with huge expressive possibilities, which allows him to non-verbally represent classic works of European literature in different parts of the world, in particular «Bloody Wedding» by F. García Lorca, «Fuenteovejuna» by Lope de Vega, «Carmen» and others. According to A. Hades, any work of art can be understood only in the unity of its content, means of artistic expression and cultural reminiscences (memory, echo, echo, which lead to comparison with something), which provide a kind of "connection of times" in the mind the viewer. The choreographer demonstrates this approach in the process of translating famous Spanish literary and dramatic works into the language of dance, turning to national dances, in particular the Pasodoble ballroom dance, Spanish folk dances Bolero, Cachucha, Muneira, Segidilla, Sarabanda, Sardana, Fandango, as well as dances in the southern Spanish Flamenco style.
More...
The purpose of the article is to reveal artistic images in "The Little Prince" ballet performance by Radu Poklitar with music by V. A. Mozart and Ukrainian lullabies performed by Maria Pylypchak. The methodology of the work is based on cultural analysis with elements of musicological analysis. The performed analysis provides familiarity with the ballet performance, the production of which took place on the theatre stage. Based on the synthesis of the obtained research results, the regularities of stage development in the interaction of choreography, music, and visualisation were established. The method of generalisation helped to record the sequence of formation of ballet images, disclosure of events in dialogue with music and visual series. The scientific novelty of the work lies in the fact that the analysis of the said ballet by Radu Poklitaru has been conducted. The interaction of choreography, music, and visual series in the embodiment of the philosophical fairy tale by Antoine Saint-Exupéry is revealed. The text of the article can be used when preparing a lecture on teaching music-theoretical and music-historical disciplines. Conclusions. Based on the analysis of "The Little Prince" ballet performance, the musical characteristics of the Little Prince, Rose, Snake and other actors were revealed by Radu Poklitaru. The stage unity of choreography, music, and visual series helped embody artistic images in the music-theatre genre. Choreography (elements of classics, free movements, imagery in movements) is supported by musical emotion and visualisation. The visual series significantly influenced the transmission of the philosophy and content of the literary source. The dramaturgy of the ballet is subordinated to the plot development. The musical basis of ballet became the basis for the realisation of artistic images in ballet: Mozart's works (Symphony No. 1, Fantasia in D minor, Piano Concerto with Orchestra No. 23, Part 2) and Ukrainian lullabies.
More...
The purpose of the study is to analyse the modern embodiment of the eternal image of Orpheus created on the basis of an artistic revaluation of an ancient myth, which over a significant period of its existence has changed its role from the model of archaic society to inclusion in the great cultural context of the art of today. The methodological base of the study consists of a number of methods. Analytical method is used to penetrate the essence of the Orpheus as an artist, which allows us to learn about the motives of his actions. The comparative method is applied to compare and contrast the primary mythological image with its transformed variants. The use of the historical method is necessary in order to trace the development of the eternal image in art in different historical periods. The study of such a well-known image is impossible without the use of a descriptive method since its origins are in mythological sources. The scientific novelty of the study is to consider the eternal image of Orpheus, which exists in art as a generating model of reality. The proof of this thesis is based on the analysis of the examples of modern revaluated embodiment of the mythological plot by giving it the meaning that is relevant to the present socio-cultural meaning. Demonstration of such plot and motive transformations not only eliminates the distance between history and modernity, but also gives rise to a “new” myth that plays the role of a model of new reality. Conclusions. Some well-known plots, being repeatedly told and retold, inevitably undergo changes, significantly moving away from their primary source. The story of Orpheus, reflected in the works of art of different genres, functions as a kind of evolutionary power within the constantly expanding culture. An ancient legend of the Thracian Singer is a constant motif of new creations that not only contradict the cultural and historical development of humankind, but also contribute to it protecting the artistic heritage of the past from cultural oblivion by creating a transformed model of image that is actively involved in the creation of new reality.
More...
The purpose of the article is to reveal the peculiarities of communication between Mykola Lysenko-conductor and amateur singer Yakiv Hulak-Artemovskyi. Research methodology. The following methods have been used in the research: exploratory, analysis and generalisation method to reveal the communication of the eminent master with this specific member of the choir, based on the latter’s memories and epistolary. Scientific novelty of the research. The article reveals for the first time certain aspects of Mykola Lysenko's work with the choir and the conductor's collaboration with the amateur singer Yakiv Hulak-Artemovskyi, his faithful assistant, who became the “right hand” of the conductor. Conclusions. Yakiv Hulak-Artemovskyi is a person from Mykola Lysenko's circle, extremely responsible and devoted. Understanding Mykola Lysenko's business, his impracticality in financial affairs, at the same time his great love for his native people and cheering for their future, he agreed to become a voluntary assistant of the artist. The relationship of Mykola Lysenko – an outstanding Ukrainian composer and conductor, with Yakiv HulakArtemovskyi – an amateur singer and choir manager must be a model of deep respect, tolerance, and an example of devoted service to the cause of Ukrainian choral art. The creative tandem of these caring personalities contributed to coordinated and successful work of the choir, preparation of concert programmes, organisation of tour trips, and the popularisation of the native song among the Ukrainian population. Mykola Lysenko and Yakiv Hulak-Artemovskyi were Ukrainian patriots, highly spiritual personalities, and hardworking people who defended the right of the people to be treated with dignity within or under the conditions of the colonialist policy of the Russian Empire: Mykola Lysenko as a defining cultural figure, whereas Yakiv Hulak-Artemovskyi was an average, but dedicated representative of Ukrainian citizenship. Both faithfully served their native people and the Ukrainian culture. Yakiv Hulak-Artemovskyi respected Mykola Lysenko as a talented artist, admired him as a personality, as well as, his ability to maintain independent views, even in the most difficult times. In turn, Mykola Lysenko valued Yakiv Hulak-Artemovskyi as a singer and head of the choir, and as a reliable assistant and adviser.
More...
The purpose of the article is to reveal a variety of genres and styles, in which musical interpretations of Ukrainian classical poets’ texts appear. The methodology. Due to the specific features of the research, the combination of musicology and literary methods should be involved, as well as general scientific methods. So that, the musical analysis and the observation of stage production take place in direct connection with the features of the literal works and in general sociocultural context. Comparative method has been used to identify the characteristic features of such interpretations in different eras and in the works of different artists. The facts were summarised and structured with the use of the analytical method. Scientific novelty of the work lies in the presenting of the genre-style diversity of musical interpretations of the poetry of Ukrainian classics. Features of most musical works of the modern performers are described for the first time. Conclusions. The poetry of Ukrainian classics has a prominent feature – internal musicality, which up till now makes composers and singers turn to it and create their own new interpretations. This feature helps poetry to appear in the great variety of musical genres: from vocal, for example, song, romance or ballade, to genres that are bound with dance or theatre art, such as musical, mono-play, opera, or ballet. Traditionally, musical interpretations of the poetry were related to classical music. However, musicians’ attitude to the interpretation of the poetry of Ukrainian classics totally changed in the end of the XX century. After Ukraine reached its Independence, such interpretations have done the «break-out» and widened their stylistic paradigm to the great diversity – from academic acoustics to rock, rap core and many other different styles. To present these features, the musical compositions of the duo «Telniuk Sisters», bands «Komu Vnyz», «Plach Yeremii», «Haidamaky», and «Tartak» were used in the research. The article also illustrates the interpretations of the literary heritage of the classics in ballet art, as a vivid example of the fact that not only vocal works are born from the interaction of words and music.
More...
The purpose of the article is to consider the specific characteristics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by Yurii Shevchenko, a composer. The research methodology consists in specifically scientific methods (historical, system-analytical, hermeneutic, and generalisation), which allow to conduct an objective study of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture. Specific musicological methods are also applied. The analysis of musical notation is used to consider the musical form of ballet, its harmonic structure, rhythm, and melody. The study of a ballet production enable understanding the author's use of ballet music to create an atmosphere, express emotions, and convey the plot. The performative analysis helps study the interaction of ballet music with other elements of ballet. The scientific novelty is in substantiating the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of "Chasing Two Hares" ballet by the composer Yurii Shevchenko and updating the meaning of the composer's work in the context of the latest conditions of functioning of the Ukrainian musical theatre. Conclusions. The actualisation of theoretical studies in the field of musical culture and art is determined by the demand for the study and explanation of their intensive development. The experience of creating various forms of ballet and theatre music manifests the specific characteristics of modern musical art in Ukraine. In this context, consideration of the specifics of Ukrainian ballet as an original phenomenon of modern musical culture, the case study of Yurii Shevchenko's ballet "Chasing Two Hares" is considered relevant. Researching the theatrical and musical works of Y. Shevchenko and his music for the "Chasing Two Hares" ballet, we justify that ballet music appears as an expression of a new theatrical language – the language of optimism and high moral qualities. At the same time, musical theatre acquires psychotherapeutic characteristics, helping to survive the complex realities of life and restore faith in justice, which is especially relevant in today's realities. Yurii Shevchenko's compositional work, on the example of the "Chasing Two Hares" ballet, is an original phenomenon of modern musical culture and constitutes a significant component of Ukrainian culture and art.
More...
The purpose of the article is a musicological analysis of the dance images in «Rondo-Haitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Research methodology. Analytical, historical methods, the method of comparative and musicological analysis have been used. Scientific novelty of the research. For the first time, a musicological analysis was conducted of the dance images in «Rondo-Khaitarm» work for violin and piano by the Crimean Tatar composer Nazim Amedov. Conclusions. Nazim Amedov's «Rondo-Khaitarma» work for violin and piano highlights the national features of the artistic thinking of the Crimean Tatar people. Using a variety of musical and expressive means, CHANGING different shades: from persistently energetic, expressive to soft, lyrical, with the affirmation of a bright affirmative character the composer multifacetedly presents the main national dance image in its overall development. The dominant technique of development is «mirroring». It extends to the intonation-rhythmic organisation of the theme, has a form-creating function. These techniques are inherent in the author's handwriting and composer's thinking of Nazim Amedov.
More...
The purpose of the article is to reveal in the works of A. Shtoharenko, brothers Platon and Heorhii Maiboroda, A. KosAnatolskyi, who are bright representatives of the traditionalist worldview, typical for them general stylistic ways of embodiment of the demands of the present day, using certain achievements of modernism, but not going beyond the traditionalist artistic position. The methodological basis of the work is based on the principles of the intonation approach, that is, based on the understanding of the genetic unity of speech and music, which is characterised by an organic complex interdisciplinary coverage of expressiveness of words, music, and imagery. This vision of musical expression coincides with modern art history research methods, among which we highlight historical-musicological, genre-stylistic, interpretive-hermeneutic, and semiotic-aesthetic. O. Markova’s metaphysics of musical history has become the methodological basis of the research [7]. The scientific novelty of the obtained results lies in the expansion of ideas about modern musical dimension of the stylistic heritage of the last century as the embodiment of the aprogressive paradigmatic principle of expression of traditionalism of the 20th century, with the awareness of the epochal «vibration» of the identification of the specified stylistic quality depending on the specifics of the nationwide manifestation of the corresponding thought stereotypes. Conclusions. The named masters consciously gravitated towards the academic stability of the expressive principles of music, but in no way bypassing the echo of the «call of time» and investing in their compositions more often impressionistic-fauvist, pro-neoclassical, and primitivist stylistic indicators. The salon slant of the applied piano is something that is permanently established in the palette of presented images-meanings, in which not so much folklorism, but precisely the lyrical excess of exposition is combined with sonata-like structures, «extinguishing» dramatic and theatrical expressiveness.
More...
The purpose of the article is to identify the peculiarities of concert and choral implementation of the cycle of Kupalo songs in the interpretation by Mykola Lysenko. Research methodology is based on the synthesis of the folkloristic and art-studying approaches, which enable us to prove the fruitfulness of complementarity of various types of the artist’s creative activities. Cultural-historical, system-analytical and didactical methods are used in order to study the ways of concert reinterpretation of the folk-rite performance presented by a mixed choir with piano accompaniment, as well as to generalise the cognitive and spiritual values of that type of the repertoire. The scientific novelty of the research lies in the first analysis of the conformity of the composer’s idea and its implementation through the selected set of the expressive means to the content and essence of the ancient ritual authenticity on the example of a specific choral work. Conclusions. The ritual-choral cycle «The Kupalo Case» is a synthesis of folk archaism and innovative ways of concert enrichment of music language. Three folk songs under the common title are united by a dramatic idea, based on folk philosophy of the summer fest of Kupalo, its symbolism of purification through fire, water, and pairing of youth. The general cyclicality of the composition is cemented by an optimistic idea of glorifying the life. The piano part plays an important formative role, makes the verbal text more detailed and enriches the choral score in figurative and meaningful aspects. The harmonious language of the work contributes to the preservation of the archaic coloration. The general homophonic and harmonic texture sometimes reveals the signs of polyphonic layers, differentiated by male and female voices. Their layering reflects the contrast of timbres, registers, and character of melodies. As a result a peculiar style of choral theatricalisation is achieved, which coincides with the syncretism of the primary calendar-ritual performance.
More...
The purpose of the article is to investigate the functioning of anticipation in correlation with emotional intelligence in a pianist-accompanist’s work in the concert phase. Emotional intelligence is the ability to work with emotions, including the ability to anticipate them. Anticipation is the property of the psyche to foresee the next events in time, including emotions. This is the point of intersection that the concept of the article is built on. Research methodology. To achieve the declared purpose, we use the following methods. Systemic method allows us to explore the principles of functioning of anticipation as an attribute of the emotional intelligence system. Psychological method is aimed to consider the congenital and acquired patterns of the human brain through the prism of psychology. A method of theoretical modeling helps to construct speculative models of potential real situations. The scientific novelty of the research consists in revealing the direct co-dependence of anticipation and emotional intelligence and projecting their functioning on the pianist-accompanist’s creative work. There is always an element of unpredictability in the process of concert performance, which ensures the openness of the field of emotional reactions. For a pianist-accompanist, the difficulty lies not only in working out one's own emotions, but also in preparing a response to a partner's concert emotion. To minimise losses on stage, one will need the ability to work with the tools of emotional intelligence, among which anticipation plays a significant role. Conclusions. The importance of understanding the acts of anticipation for a successful use of the resources of emotional intelligence is substantiated. Expanding the range of resources of one’s own body by consciously transferring innate predispositions into the processes controlled by consciousness raises the professional activity of a pianist-accompanist to a higher level of creative mastery.
More...
The purpose of the article is to discuss the mutual influence of funeral and ritual music and folklore ritual traditions of Ukrainian Orthodoxy. The specifics of the development of folk beliefs, customs and church ritual, and burial music are investigated. It is indicated that Orthodox sacred music developed in interaction with centuries-old folk melos and became the basis for the development of church musical culture. The study aims to identify the relationship of burial ritual music and folklore elements in church chants of the Orthodox tradition, to outline the phenomenon of church burial and ritual music as a specific way of spiritual communication, catharsis, emotional and figurative assimilation, and reflection of personal worldview. The research methodology comprises the general scientific methods of analysis: historicism, systematisation, comparison, and generalisation of the problem under study. Scientific novelty of the research lies in clarifying the fixation and elaboration of the Orthodox taphological repertoire; in the study of the mutual influence of folk household and burial beliefs, customs and church ritual, and burial music of Orthodox Christians on the cultural identity of Ukrainians, their worldview, and national genotype. Conclusions. In the musical burial ritualism of Ukrainians, the symbiosis of customs, beliefs, and church rites is still clearly traced. All of them are aimed to convert an Orthodox Christian to a righteous, sinless life, to the hope of forgiveness and remission of sins, and to giving peace to the soul after death in anticipation of the Kingdom of Heaven, eternal life. They also intend to cleanse the living space from negative action, to ensure the successful transition of the soul of the deceased to the Kingdom of God, to protect living relatives and to unite the living and the dead from the family in Holy Communion (Eucharist). The Orthodox musical and aesthetic tradition states that the soul’s prayer of the deceased is strong and effective in God. Consequently, Christians have a firm belief that the souls of the dead pray for their living descendants of each kin, and the mission of the living is to pray for the eternal peace of their souls and the universal resurrection in the Kingdom of Heaven. If we are to achieve a fullness of synergistic communion with the Lord, we must not only rely on God's help, but also make our spiritual contribution through spiritual effort and compassionate strain, kenosis, self-sacrifice, and personal predestination to the Good. The phenomenon of church burial and ritual music appears as a specific way of spiritual communion, emotional and figurative mastering and reflection of the worldview of an Orthodox Christian, which gives rise to an ethno-national type of a person’s musical and aesthetic thinking, and cultural self-identification. With the help of church chants, including pure funeral and ritual songs, Ukrainian musical culture became the personification of religious and aesthetic ideals, and mental-ideological attitudes of Orthodoxy. This influenced the processes of national identification and left a characteristic imprint on the ethno-national mentality and spiritual and musical culture of Rus-Ukraine throughout the centuries.
More...
The paper strives to characterize the circle of Polish visual artists who left for the United States in the late 20th century and settled in New York City, where they continued their careers. For the purposes of the paper, the subject matter has been focused on an excerpt from an ample research problem i.e. the analysis of the history of the Polish American Artists Society (PAAS,) operating in New York from 1986 through 1995. Their activities form the basis for the analysis and constitute a database to construct a more profound picture of the organization. Therefore, the years in which PAAS operated shall also constitute the paper’s framework. To foster simplicity, the term ‘artist’ and ‘artists’ shall be used to refer to visual artists born in Poland who came to New York City mainly in the 1970s, 1980s, and 1990s, permanently resided in the United States, and worked as visual artists, regardless of the technique they adopted, be it painters, sculptors, photographers, graphic artists, illustrators, performers, artistic fabric weavers, or video artists. The paper uses their micro-stories to illustrate the phenomenon behind the prolific community of Polish artists in New York City from 1986 through 1995. It is based on research on PAAS, which has become the basis for a monographic book about the Society.
More...