Fine Art and Culture Studies

CONCEPTUAL MUSIC THEATER IN THE CONTEXT OF 21ST-CENTURY INNOVATIONS

Yanina BIELAI — 2025-11-07

The purpose of the research is to analyze operatic works by composers Roman Hryhoriv, Illia Razumeiko, Connor D’Netto, Michel van der Aa, and John Adams, created in the field of conceptual music, with particular attention to the use of contemporary informational, media, and other innovative technologies. It has been revealed that the synthesis of technologies previously applied separately within different art forms contributes to the embodiment of conceptual ideas in the realities of the stage space. The following research methods were employed: historical, philosophical, comparative, and textual analysis. In addition, the specificity of the researched phenomenon, manifested in the integration of different kinds of arts, determined the application of an interdisciplinary approach to the analyzed works, as they harmoniously combine musical, cinematic, theatrical, literary, information-media, and other structural elements. The scientific novelty lies both in addressing the theme of conceptual music–musicological research on which began only in the 21st century–and in the choice of works, namely conceptual operas, which, in the context of their belonging to the direction of conceptual music, have not yet been studied. The operas were analyzed with an emphasis on their conceptual-structural component, which made it possible to reveal the features of the embodiment of conceptual music within the performing arts, with the use of the latest digital technologies. Conclusions. The geographical affiliation of the composers whose operas were analyzed–covering three continents, namely Eurasia, North America, and Australia–demonstrates the international character of conceptual music and art. Furthermore, the inclusion of modern technologies in the performances highlights the openness of conceptual ideas to experimental realization.

THE SONG «TAKE ON ME» BY THE BAND «A-HA» IN MUSIC PRODUCTION SYSTEM: INTERPRETATIVE ASPECTS

Viktor BILOBLOVSKYI — 2025-11-07

The purpose of the research. The work analyzes the song «Take On Me» by the Norwegian band «A-ha» from the initial idea to the commercially successful version, reveals the features of finding the optimal sound of the composition for the most positive response from the audience, and indicates the role of the music producer in creating the final version of the song. The research methodology consists of applying the comparative method in musicological analysis, which made it possible to observe the dynamics of changes in the formation of a new producer’s vision of the song «Take On Me». The scientific novelty of the study lies in the fact that in the work on the example of the song composition «Take On Me» a new type of analysis of a musical work is proposed, which highlights changes at all stages of musical production, which allowed to comprehensively reveal the interpretative potential of the song work. Conclusions Using the example of the song «Take On Me» and its previous versions «Miss Eerie» and «Lesson One», the role of musical production aimed at forming a positive reaction of the listening audience is traced. A detailed analysis of the versions of the song composition clearly demonstrates the realization of its interpretative potential through the characterization of a particular element of musical production. The technology of recording and reproducing synthesized timbres significantly influenced the overall sound of the song «Take On Me», as did the orchestration, which is based on musical classics. The arrangement, timbre of the voice and instruments take the sound of the song to a new level, determining its exclusivity and uniqueness, which was made possible thanks to the correct musical production of the song composition. The key factor that influenced the success of the composition was the collaboration with the qualified music producer A. Terney, who brought the song «Take On Me» to a new level of sound. In the process of working on the work, A. Terney did not deny any of the proposed options for musical production, but accumulated their strongest sides. It has been proven that generating musical ideas and finding the most optimal sound is the prerogative of musical production, for which the music producer is responsible.

MEANS OF MUSICAL EXPRESSION IN POPULAR MUSIC AS A COMPONENT OF STAGE DIRECTION IN VOCAL PERFORMANCE

Halyna HATSENKO — 2025-11-07

The purpose of this article is to analyze the means of musical expression as integral components of stage direction in popular vocal performance and to demonstrate their application through the creative activities of leading Ukrainian performers. Methodology. Using comparative analysis, this study examines the work of selected Ukrainian performers who employ different models of applying the means of musical expression in popular music. This approach makes it possible to emphasize the multidirectional nature of dramatic and stage solutions for vocal works in the Ukrainian popular music scene. The means of musical expression in popular music perform a key function – shaping the emotional space of a work, which directly affects the listener’s perception on sensory, cognitive, and emotional levels. Each means of musical expression – timbre, rhythm, harmony, dynamics, intonation, articulation, etc. – serves as an instrument of emotional modeling, enabling the performer to evoke specific feelings in the audience. Scientific Novelty. An in-depth comparative analysis of the performance styles of contemporary Ukrainian pop artists (based on selected works by O. Ponomariov, T. Karol, Jamala, N. Mohylevska, and P. Zibrov) confirms the diverse stylistic use of musical expression in popular music. This variety, in turn, reflects a wide spectrum of current approaches to the stage direction of vocal works, offering valuable insight into contemporary trends in stage and vocal artistry. Conclusions. The stage direction of a popular vocal performance involves the synchronous integration of musical expression with acting and artistic elements. The main means of expression, combined with stage performance, create a unified image of the act. In the context of a song’s stage interpretation, they not only shape the artistic image but also deliver a profound emotional impact on the listener, contributing to the revelation of content, dramatic structure, and the author’s intent.

EVOLUTION OF SOUND ENGINEERING: FROM ANALOG TO DIGITAL TECHNOLOGIES

Oleg GONTAR — 2025-11-07

The purpose of the work is to study the evolutionary path of sound engineering development from analog technologies to modern digital systems, identify key stages of sound recording transformation and analyze the impact of technological innovations on the professional activities of sound engineers. The research methodology is based on the use of historical-chronological method to determine the stages of sound recording development, comparative analysis to identify differences between analog and digital technologies, systematic approach for comprehensive study of sound engineering transformation, method of theoretical generalization for systematization of accumulated experience. Scientific novelty lies in comprehensive analysis of sound engineering evolution in the context of transition from analog to digital technologies, identification of key technological breakthroughs that influenced the industry development, systematization of sound recording development stages from mechanical to digital, revealing features of hybrid approach in modern sound engineering. Conclusions. The study showed that the evolution of sound engineering has gone through a complex path from mechanical sound recording of the late 19th century to modern digital audio workstations. The transition from analog to digital technologies has radically changed the principles of sound engineers’ work, expanded creative possibilities and democratized access to professional sound recording. Digital technologies have provided higher sound quality, unlimited editing and processing capabilities, and integration with computer systems. At the same time, analog technologies remain relevant due to their unique sound characteristics. Modern sound engineering is characterized by a hybrid approach that combines the advantages of both technologies to achieve optimal artistic results.

PEDALIZATION IN THE WORK OF A PIANIST: A STYLE APPROACH

Alla HRINCHENKO — 2025-11-07

The article is devoted to the problem of using pedalization according to the style direction. Research objective. To identify and theoretically substantiate the features of the use of pedalization in the works of composers of different stylistic directions. The methodology of the research is based on systematic analytical and comparative methods. The scientific novelty lies in determining the specifics of pedalization through a comparison of its application in different stylistic directions, taking into account the evolution of musical instruments. Conclusions. Pedalization plays a significant role in ensuring the interaction of the leading components of musical texture. The function of the pedal depends on both the texture, style and artistic image of a musical work. Pedalization is a creative and mandatory component of the pianist’s performance process. The study examines the specifics of pedalization in the interpretation of works of the Baroque era (I. S. Bach), Viennese classics (J. Haydn, V. A. Mozart, L. Beethoven), and romantic composers (F. Chopin, F. Liszt). The functions of the right and left pedals in piano performance and the factors of its comprehensive application (author’s instructions, style and genre of the work, elements of musical language – tempo, agogics, dynamics, strokes, articulation, register, nature of pauses, specifics of the instrument’s sound and room acoustics) are determined. The ability to pedal depends largely on the understanding of the appropriateness of using pedaling in a piece of a particular style and the ability of the applicant to aural control. Pedaling should be subtly differentiated by the performer’s hearing and feeling, since there is a fine line of gradations between “yes” and “no” (accurate – inaccurate, correct – incorrect, stylish – unstylish, etc.). The action of pedaling mastery should be cultivated, in the entire pianistic complex, and directed towards an artistic goal. The ability to pedal is practiced in the process of mastering works of different genres and styles.

DEEP LEARNING AS A TOOL FOR ALGORITHMIC ANALYSIS IN CONTEMPORARY COMPUTER MUSICOLOGY

Volodymyr DIACHENKO — 2025-11-07

This article examines the role of deep learning (DL) systems in shaping a new methodology for computer musicology. The object of the study is the musicological practices of music analysis and interpretation, as well as computer musicology. The subject is new artificial intelligence (AI) technologies that can be applied within musicological analysis and interpretation as a tool for objectifying aesthetic perception, algorithmically analysing acoustic parameters, and for use in music education. Aims. The primary aim is to substantiate the hypothesis that AI technologies can serve as a tool for objectifying aesthetic perception and for the algorithmic analysis of acoustic parameters of musical sound. A particular focus is placed on integrating deep learning technologies into the professional work of musicians, sound engineers, and researchers. Methodology. The paper employs systematisation, along with integrative, inductive, deductive, and comparative analysis of concepts. The theoretical framework is based on academic sources on AI technologies within the fields of musicology and computer musicology. The analysis is conducted in the context of Music Information Retrieval (MIR) and Music Generation (MG), using a SWOT analysis on the AI system, Suno AI. Scientific Novelty. The novelty lies in the further development of the author’s concept of creative-technological analysis. Within this framework, musicological and creative-technological analysis are integrated with generative and educational practices. The potential of the hypothesis that deep learning technologies can act as a tool for objectifying the cognitive processes of auditory perception is substantiated. Conclusions. In the context of modern digital technology development, computer musicology is moving beyond its traditional paradigm. This is because deep learning enables tasks such as genre classification, the identification of means of musical expression, emotion recognition, and music generation, all by using objective acoustic parameters. Based on this, a hypothesis is put forward that AI’s deep learning technologies can serve as a tool for objectifying cognitive processes of auditory perception. This allows for the expansion of musicology’s toolkit and contributes to the universalisation of musical cognition. However, this transformative and optimising process necessitates considering the risks associated with the standardisation of the musical product’s quality and potential plagiarism.

THE DOUBLE BASS CONCERTO OF G. BOTTESINI IN THE REPRESENTATION OF BAROQUE OBLIGATORINESS RELEVANT TO THE POST-AVANT-GARDE PRESENT

Serhii ZHELEZNIAK — 2025-11-07

The purpose of the study is to identify in the creative method of Bottesini, a representative of the Romantic era, the features of Baroque Obligation in the interpretation of the concert genre typology for the double bass. The methodological basis is the intonation approach of the B. Asafiev school in Ukraine, with a pronounced hermetic and comparative orientation, as we have in the works of D. Androsova, O. Kozarenko, T. Levitska, O. Markova, O. Roschenko, A. Sokolova, V. Shulgina, and other leading musicologists and cultural scientists. The scientific novelty lies in the discovery of the connection to the pro-Baroque principles of the creative method of G. Bottesini, usually defined in connection with romantic thinking, although within the framework of the mentioned direction and in the post-Romantic creativity of the 1850s – 1880s, protoneobaroque style positions turned out to be extremely popular, fueling obvious tendencies towards the revival of Baroque music in the post-avant-garde present. The indicated stylistic tendency of the a-symphonic interpretation of the concert genre is an obvious parallel to the work of R. Schumann, in which we also have a «compression» of orchestral participation in the concert genre (see his works of this type in op. 92 and 134). Conclusions. The outstanding creative personality of G. Bottesini, the «Paganini of the double bass» in performance, as well as a bright composer and conductor, deserves special attention to his legacy in the modern post-avant-garde setting, in which the achievements of the Baroque, which have passed theatrical and dramatic tendencies of Viennese and post-Viennese instrumentalism, received special recognition as a way of presenting «pure concertity», a genre of glorification and solemnity in its spiritual genesis. The parallel found in the work of Bottesini’s interpretation of the Double Bass Concerto to a similar genre variety in R. Schumann indicates the embodiment of anti-symphonic tendencies of thinking in the post-Romantic historical period, which is a clear parallel to the modern veneration of the Baroque heritage within the post-avant-garde creative space.

PSYCHOLOGICAL ASPECTS OF DTVTLOPING THE ABILITY TO SELF-REGULATE, SELF-ORGANIZE AND SELF-MANAGE IN THE FUTURE PERFORMING MUSICIAN

Natalia ZHURAVLOVA — 2025-11-07

The article presents a psychological and pedagogical analysis of the formation of self-regulation, self-organization, and self-management as key components of the professional development of future musician-performers. The psychological mechanisms of developing these qualities are identified, and the factors and conditions contributing to the formation of a subjective position among students of art institutions of higher education are examined. The purpose of the study was to investigate and clarify the psychological foundations of developing the ability for internal regulation and self-management among future musicians in the process of professional training. The research methodology is based on systemic, personality-activity, competence-based, and cultural approaches, as well as the theoretical provisions of contemporary scholars who interpret musical performance as a complex psychophysiological process. The scientific novelty lies In clarifying the structure of self-regulation ability in the professional activity of a musicianperformer. Through the analysis of concepts of the complex and contradictory process of self-regulation in the psychological and pedagogical dimension, individual components of this phenomenon are distinguished and considered in the context of musical performance, since self-regulation is an integrative, dynamic process aimed at optimizing activity. Conclusions. Self-regulation, as a psychological and pedagogical phenomenon, constitutes one of the key integrative qualities of the individual, upon the level of which the effectiveness of professional activity directly depends. The ability to self-regulate emerges as a leading psychological condition for the effective professional self-realization of a musician-performer. It integrates the development of reflective thinking, the formation of motivational independence, the achievement of emotional stability, and the cultivation of volitional self-control. Through this complex combination, self-regulation ensures internal coherence of mental processes, optimizes creative activity, and facilitates overcoming difficulties associated with intensive educational and performance processes and stage practice. In this context, it serves as a fundamental prerequisite for attaining a high level of professional mastery and creative self-realization.

POPULAR VOCAL ART IN UKRAINE IN THE CONTEXT OF DUBBING

Svitlana ZARIA — 2025-11-07

The purpose of the study is to identify the characteristics and role of Ukrainian pop singers in the process of dubbing and voice-over for films and animated films, analyzing their contribution to the development of multimedia art in Ukraine. The research methodology is based on a comprehensive approach that includes analysis and synthesis methods for studying available scientific sources and media materials. A comparative-historical method is used to trace the evolution of the process of involving pop singers in Ukrainian dubbing. The application of systemic and structural-functional approaches made it possible to consider this phenomenon as an integral part of the modern media industry. The scientific novelty of the article lies in the fact that, for the first time in Ukrainian scientific discourse, the phenomenon of involving pop singers in Ukrainian dubbing is systematically considered as a separate direction for their creative activity. Conclusions. The participation of pop singers in the dubbing of films and animated films has become an important phenomenon that expands the boundaries of creative interaction between musical art and the film industry. This collaboration is mutually beneficial, providing new opportunities for professional development and increased popularity for artists, as well as enhancing the artistic and commercial value of dubbed audiovisual products. The voices of famous performers confirm the high level of Ukrainian dubbing and contribute to its further recognition as a significant cultural phenomenon. The article describes the specifics of the vocal and acting skills used in dubbing and examines the transformation in modern conditions, when a pop singer is required not only to have vocal and technical perfection, but also the ability to convey the character of the proposed character.

PIANO ART IN THE MATERIALS OF MUZYKA JOURNAL OF THE 1991S AND 1999S

Yuriy ZUBAY — 2025-11-07

The article analyzes publications dedicated to piano art that appeared in the journal Muzyka during the years 1991– 1999. Relevant materials have been systematized, and little-studied or forgotten facts from the history of Ukrainian piano art during this period have been introduced into scholarly circulation. The article also traces their connection with contemporary trends in the development of national musical culture. The aim of the article is to provide a comprehensive analysis of materials related to piano art published in the Ukrainian journal Muzyka between 1991 and 1999. The research seeks to identify the main thematic directions of piano-related issues, evaluate the significance of individual publications for Ukrainian musicology, and determine the role of the journal as a source for preserving and promoting the national piano heritage amid the socio-cultural transformations of the early years of Ukraine’s independence. The methodology involves an interdisciplinary approach combining historical-cultural, source-based, and content analysis. The complete body of piano-related publications from Muzyka during the specified period has been examined using the biographical method, comparative analysis, and elements of the narrative approach. Several key thematic categories are identified: biographical publications, concert reviews, and competition overviews. Scientific novelty. This is the first attempt to systematize and analytically comprehend piano-related publications in Muzyka from 1991 to 1999 as a single coherent phenomenon. Little-known facts about the work of notable Ukrainian pianists have been uncovered, and the influence of contemporary competitions on the development of the Ukrainian piano school has been assessed. The journal’s role as a powerful communicative resource for the professional community is substantiated, showing that it not only recorded events but also shaped evaluations and performance benchmarks. Conclusions. Piano-related content in Muzyka from 1991 to 1999 covers a wide range of issues–from honoring the memory of prominent artists to the contemporary competition movement. The publication served as a platform for scholarly discourse, the preservation of musical heritage, and support for young talents. The summarized materials confirm the high level of intellectual and artistic potential of the Ukrainian piano school and the relevance of the studied topic for modern scholarship and cultural policy. This research may be valuable for musicologists, performing pianists, educators, cultural scholars, and researchers of Ukrainian music periodicals.

SPIRITUAL MUSIC AS A CREATIVE SEARCH FOR THE MORAL-RELIGIOUS ORIENTATION OF HUMAN CONSCIOUSNESS

Tetiana KORNISHEVA — 2025-11-07

The article is focusing on the compositional work of Ukrainian artists of the first quarter of the 21st century in an anthropological context, particularly from the perspective of spiritual music as a result of the moral and religious orientation of human consciousness. The purpose of the article is to conduct a comprehensive analysis of the compositional work of Ukrainian artists of the Independence era from the perspective of the moral and religious orientation of human consciousness. The methodology. The study is based on an interdisciplinary anthropological and sociocultural approach to the consideration of the compositional work of Ukrainian artists, using a comparative method to establish the commonalities and differences in the compositional work of Ukrainian artists as a reflection of their worldview concepts. The scientific novelty of the research results lies in the revelation of a new model of the artist embodied in Ukrainian music of the first quarter of the 21st century, an attempt to analyze the psychology of Ukrainian artists who found themselves in the conditions of the transition from a totalitarian regime to the ideology of independence. Their work has become a reflection of the spiritual quest of the Ukrainian intellectuals in recent decades. Conclusions. Describing two trends in worldview in Ukrainian music culture in the 1990s and early 2000s, it can be noted that «new religiosity» and shocking experimentation, despite their oppositeness, are the result of composers’ willingness to move away from the so-called «topical» themes, which for them were a symbol of totalitarianism and the embodiment of the image of «homosoveticus». It is spiritual music that reflects the inner world and creative search of the artist, prompting a deeper immersion into the spiritual world of the individual from the perspective of the moral and religious orientation of human consciousness.

THE PIANO HERITAGE OF DMITRY BORTNYANSKY: PROBLEMS OF RESEARCH AND PERFOMANCE

Nataliya MAYCHYK — 2025-11-07

The article focuses on the study of the piano heritage of the outstanding Ukrainian composer of the classicism era, Dmytro Stepanovych Bortnyansky, known to us primarily for his sacred works. It is noted that the piano heritage of D. Bortnyansky has not been preserved in full, but the available works allow us to conclude about the high composer’s skill of the Ukrainian artist and about his belonging to the Italian composer’s school of the era of the gallant style. The purpose of the article is to identify and consider the main problematic issues regarding the study and performance of the piano heritage of Dmytro Bortnyansky. The research methodology is based on a complex of historical-theoretical and practical-performance approaches, which ensures the objectivity of the results obtained. The scientific novelty of the research results lies in determining the contribution of Dmytro Bortnyansky to the creation of the piano repertoire. Conclusions. Works with the participation of the piano were written by D. Bortniansky during and after an 11-year stay in Italy, where the future composer mastered the art of counterpoint during classes with the famous Italian maestro, a representative of the Venetian composer school B. Galuppi. D. Bortniansky began his composing activity with the writing of secular music – Italian opera seria, arias and romances, chamber and instrumental works. This happened in the 1770s and continued during the next decade, in parallel with the creation of a choral repertoire for the Court Singing Chapel. Stylistically, D. Bortniansky’s piano works are close to the early works of V. A. Mozart, but behind the external lightness and simplicity lies a remarkable depth of content, in which the influences of the aesthetics of the gallant style are traced. The works were written for harpsichord and piano organ, now they can be performed on piano and harpsichord.

THE BELL AS A FIGURE OF MEMORY (ON THE EXAMPLE OF PRELUDE AND FUGE № 1 IN C MAJOR FROM THE CYCLE “24 PRELUDES AND FUGE” BY V. ZADERATSKY

Nataliya MAKAROVA — 2025-11-07

The article presents a comprehensive interpretation of the first diptych “Preludes and Fugues” in C major from the cycle “24 Preludes and Fugues” by Vsevolod Petrovich Zaderatsky in musicological, psychological and cultural aspects. Special attention is paid to the symbolism of the bell as a sign of memory, sacred musical time considered in the context of the existential experience of the concentration camp and liturgical symbolism. The study substantiates the interpretation of the bell as a figure of memory, which in the conditions of the concentration camp acquires a special apophatic power, because its sounding occurs only in the imagination, the inner world, due to its absence in real life, thus becoming a kind of way of thinking and a form of preserving the national spiritual experience. Methodology: the article uses a structural analysis of the musical text, semiotics of sound, intertextual reading and a hermeneutic approach. The musical material is considered as a kind of diary, in which the bell appears not as an object of image, but as a way of thinking, a fundamental inner mental life of the prisoner and memory, which acquires national features. Special attention is paid to the analysis of the tritone, repeating figures, the lower bell, the metaphorical architectonics of the inverted cross, the bell, the mirror structure of the diptych and the eschatological sound of the finale. Scientific novelty: for the first time in the history of musicology, the diptych from the cycle “24 Preludes and Fugues” by Vsevolod Petrovich Zaderatsky has been analyzed and an original concept of the bell as a formative element of the acoustic figure of memory, embodying the categories of the sacred, existential and historical, has been proposed. Parallels are traced between the architectonics of musical form and ritual models of the bell in the Ukrainian tradition. It is established that in the prelude the bell performs the function of a call, a reminder, a prayer, and in the fugue – of a transition, a boundary, an eschatological conclusion. The conclusions emphasize that the bell becomes a spiritual space of testimony, a kind of symbol of the presence of that which cannot be uttered, understood and forgotten, and allows the listener to form a deep emotional connection with the national culture of Ukraine and an understanding of symbolic ancient knowledge.

THE ROLE OF MATTI RANTANEN’S CREATIVE ACTIVITY IN THE DEVELOPMENT OF CONTEMPORARY BAYAN-ACCORDION ART IN FINLAND

Dmytro MAIATSKYI — 2025-11-07

The article is devoted to determining the role of the creative activity of the outstanding Finnish accordionist, composer and teacher Matti Rantanen in the development of the accordion and accordion art of Finland in the second half of the 20th – early 21st centuries. The relevance of the work is due to the significance of the creative figure of Matti Rantanen in the European musical space of this era, the need for a scientific understanding of his significant artistic achievements, as well as the practical lack of study of this issue in Ukrainian musicology. The purpose of the study is to provide a general characteristic of the creative activity of Matti Rantanen and to determine the nature of the artist’s influence on the development of the Finnish accordion and accordion art. The research methods are historical, culturological, activity-based and biographical. The scientific novelty lies in the fact that the article is the first work in Ukrainian musicology specifically dedicated to the creative figure of Matti Rantanen. The study, for the first time in Ukrainian musicology, highlights the artist’s creative biography, identifies his artistic achievements in the performing, composing, and pedagogical spheres, and also reveals his significant role in the development of Finnish accordion and accordion art. The main milestones of the artist’s creative path and his most important artistic achievements are outlined. Rantanen’s active concert and performing activities as a soloist and chamber ensemble musician in Finland and many other European countries, as well as in the United States and Canada, are characterized. The artist’s significant performing repertoire is outlined. Matti Rantanen’s fruitful pedagogical activities as head of the accordion department at the Sibelius Academy in Helsinki are highlighted. Rantanen’s methodological and organizational influence on the optimization of the modern development of Finnish accordion and accordion art is revealed, and the creative figures of the artist’s most famous students are highlighted. The conclusions summarize the leading creative achievements of Matti Rantanen in composing, performing, teaching and music-educational activities. It is noted that the prospects for further research are focused on a more detailed consideration of Rantanen’s artistic achievements in each of the indicated areas, in particular, on the analysis of the artist’s performance style.

PECULIARITIES OF WORK IN A CHORAL COLLECTIVE

Vasyl MOISIYUK — 2025-11-07

The article explores the specifics of work in a choral collective, organizational and artistic-performance aspects of the choirmaster’s activity when working with different types of choral groups. The purpose of the study is to determine the peculiarities of working with a choral collective at different stages of preparing a musical piece and to identify key methodological approaches to organizing effective work of a choral group. The research methodology is based on an integrated approach using historical, systematic-analytical, and practicalexperimental methods, which allowed for a comprehensive examination of choral work processes and analysis of traditional and innovative methods of working with a choral collective. The scientific novelty lies in the systematization of modern methods of working with a choral collective and the substantiation of a comprehensive approach to organizing the rehearsal process. For the first time, the psychological aspects of communication between the conductor and members of the choral collective in the context of modern pedagogical practices are analyzed, and their influence on the quality of choral sound is determined. Conclusions. It has been established that effective work in a choral collective requires the choirmaster to harmoniously combine organizational, technical, and artistic-interpretational competencies. It has been revealed that the process of working with a choral collective includes three interconnected stages: organizational-preparatory, technical, and artistic, each with its specifics and methodological features. It has been proven that the quality of choral sound directly depends on the conductor’s ability to create a favorable psychological climate in the collective, establish effective communication with performers, and implement a systematic approach to the rehearsal process.

EMOTIONAL INTERACTION AND PSYCHOLOGICAL ASPECTS OF THE INTERPRETATION OF R. BOUTRY’S DIVERTIMENTO IN A SAXOPHONE–PIANO DUET

Mariia OBOLENSKA — 2025-11-07

Statement of the problem. The article proposes an analysis of the psychological aspects of ensemble interaction, with R. Boutry’s Divertimento serving as an example of a work that requires particular attention to the phenomenon of emotional interaction between performers. This approach makes it possible not only to reveal the specificity of ensemble dynamics but also to develop performance strategies for overcoming technical and interpretative challenges. Main objective of the study is to identify the psychological mechanisms of emotional interaction between pianist and saxophonist in the process of interpreting Boutry’s Divertimento, as well as to analyze performance strategies that contribute to achieving emotional coherence in duet performance. Methods. The methodological framework of the research is based on an interdisciplinary approach that combines the principles of musicology, performance pedagogy, and the psychology of interpersonal interaction. The concept of emotional interaction draws on contemporary theories of interpersonal emotion regulation, co-regulation of emotions, and the ideas of intersubjective ensemble thinking. To analyze technical difficulties, the method of interpretative analysis is employed. To identify mechanisms of emotional interaction, a method of interactional–emotional analysis has been developed, aimed at distinguishing, describing, and interpreting the processes of emotional exchange between musicians in chamber ensembles. Scientific novelty. For the first time, Boutry’s Divertimento is examined through the lens of emotional intelligence within ensemble practice. From the soloist’s perspective, key «problematic passages» are identified and mechanisms for their practical resolution are proposed. From the pianist’s perspective, a model of accompaniment strategy is offered, taking into account the rhythmic instability, expressive articulation, and dynamic variability of the saxophone part. The complex concept of «emotional interaction» is introduced and defined. Conclusions. The study identifies the key mechanisms of emotional interaction and argues that emotional interplay in an ensemble is not only an artistic–psychological, but also a technical category that determines the quality of interpretative performance.

AN EXCURSION INTO THE HISTORY OF RUDIMENTAL DRUMMING IN SWITZERLAND

Leonid PETKUN — 2025-11-07

The purpose of the article is to outline the historical origins, developmental trends, and establishment of rudimental drumming in Switzerland. The article provides a comparative analysis of Basler Trommeln and Tambour-Ordonnanz, taking into account their regional features, repertoire specificity, and the formation of rudimental systems. Based on the analysis of primary sources, distinctive characteristics, common features, and differences are identified, and the evolution of drum notation practices is traced – from conventionally hieroglyphic and onomatopoetic forms of writing to the adoption of staff notation and the establishment of modern methods of musical text fixation. The research methodology is grounded in the comprehensive application of several approaches. A thorough study of 18th–20th-century sources necessitated the use of the source-critical method. The historical method was applied in examining the chronology of rudimental drumming, while the determination of the specificities and differences was based on the method of comparative analysis. The scientific novelty of the study lies in an attempt to present an entirely unexplored sphere of drumming within Ukrainian musicological discourse, while simultaneously introducing into Ukrainian scholarly terminology the concept of rudimental drumming, which is widely used in the global performance context. Furthermore, the study offers a systematic comparison of Basler Trommeln and Tambour-Ordonnanz, differentiating their historical, functional, and drumming characteristics. Conclusions. Rudimental drumming in Switzerland is represented by two independent practice that existed in two opposite domains: military practice (Tambour-Ordonnanz) and civic life (Basler Trommeln). Their differences are primarily determined by functional roles, regional characteristics, the formation of rudimental systems, the number and types of rudiments used, their interpretation, as well as the repertoire and its notational forms. Switzerland’s significant contribution to the global practice of rudimental drumming is the development of a number of rudiments that have become an integral part of contemporary drumming traditions and were included in the list of “The 40 Percussive Arts Society International Rudiments” (1984), as well as the 42 rudiments of the “Creative Percussion Rudimental Codex” (2018).

CONTEMPORARY PERFORMANCE TENDENCIES IN PIANO ART OF PIERRE-LAURENT AIMARD, ROGER MURARO, AND STEFFEN SCHLEIERMACHER

Dmytro PIVNENKO — 2025-11-07

The purpose of the study is to identify and review the transformation of the repertoire paradigm in modern piano performance, as well as to characterize the performing approaches of the leading representatives of this trend: Pierre- Laurent Aimard, Roger Muraro, and Steffen Schleiermacher. The research aims to comprehend the creative work of these outstanding pianists, whose repertoire profile is being analyzed for the first time in the domestic musicological field. The relevance of the study is due to the need to systematize the immeasurable set of creative phenomena to create a complete picture of the contemporary musical environment. Methodology. The research is based on a three-vector approach that combines the analysis of fundamental works on musical interpretology and performance style. The method of reviewing individual artists was used, which allows for the study of the multifaceted activities of interpreters of the 20th–21st centuries. The typology of the universal creative personality by Olha Komenda, which defines a combination of at least three types of activity, was applied. The concept of communicative strategy, developed by Yuliia Nikolaievska, was also used to identify the vector and direction of communicative action within the «composer-performer-listener-researcher» system. The empirical basis of the work was the analysis of the discography and publications of the mentioned pianists. Scientific novelty. For the first time in the Ukrainian musicological field, a systematic analysis of the creative work of Pierre-Laurent Aimard, Roger Muraro, and Steffen Schleiermacher is being carried out. The transformation of the repertoire paradigm is explored, highlighting the correlation between universal types of repertoire profile construction and the focus on new music, which is a defining feature of contemporary performance art. It is proposed to consider the performing activities of these artists in the context of «project-based approach» and the «discursive concept of performance». The performing approaches of each of the pianists are summarized and systematized, revealing their individual repertoire concepts and their influence on contemporary musical culture. Conclusions. As a result of the study, it was established that a gradual change in the repertoire paradigm is taking place in contemporary piano art: from universal programs, characteristic of 20th-century pianists, to focused repertoire strategies oriented towards new music. The performing approaches of P.-L. Aimard, R. Muraro, and S. Schleiermacher demonstrate that specialization in contemporary music is not a rejection of classical principles but rather a sign of a deep understanding and expansion of the boundaries of repertoire strategy. This trend reflects the growing «project-based approach» in the artistic environment, where repertoire concepts become an independent artistic achievement, attesting to the high level of professional competence of the modern performer.

INTERSECTION OF THE FIRST AND SECOND VIENNESE SCHOOLS TRADITIONS IN EARLY WORK OF NIKOS SKALKOTTAS

Iryna RIABCHUN — 2025-11-07

Greek composer Nikos (Nikolaos) Skalkottas (Greek: Νίκος Σκαλκώτας, German: Nikos Skalkottas, 1904 – 1949) became famous due to his outstanding talent, realized in numerous works of a unique individual style. Τhe purpose of the paper – to investigate the formation of the individual manner of the N. Skalkottas as a representative of the Greek musical avant-garde of the first half of the 20th century using the example of his early work. His early piano composition – 15 Little Variations for piano, created before he began his studies in Arnold Schoenberg’s class, used an attempt to analyze its formation. The scientific novelty of the research is that mentioned Variations are considered as a kind of introduction to the work of the composer, which makes possible to determine the components of his style and their interaction. Usage of the classical clichés of the Beethoven’s piano variations texture are shown as well as their interaction with dodecaphonic principles of composition – serial rows, reflection and asymmetry of their fragments. The interface of two stylistic giants – Viennese and the Second Viennese schools which produced internal conflict of the N. Skalkottas’ music. The special importance is attached to the linguistic and psychological aspects of the classical and modern components communication and the birth of the individual “self-speech” of N. Skalkottas, which can be considered as the early indication of the compositor’s idiom. The emergence of a psychological internal contradictory dialogue between a successful violinist, a skilled pianist, educated in classical music, and a novice composer who strives for a modern musical language is shown. Methodology: The research applied methods of musical, linguistic, psychological phenomenological and comparative analysis. Conclusions were drawn about the multifaceted interaction of the stylistics of the Viennese and New Viennese schools in the formation of the individual composer’s manner of N. Skalkottas.

K. MYASKOV’S RHAPSODY «BAYDA» FOR BANDURA AND PIANO: SPIRITUAL-SENSE AND GENRE-INTONATIONAL SPECIFICITY

Viktoriia SAKALY — 2025-11-07

The study summarizes the genre-stylistic and intonational features of K. Myaskov’s rhapsody «Bayda», which is in demand in modern academic bandura performance practice. The purpose of the work is to identify the poetic-intonational uniqueness of K. Myaskov’s rhapsody «Bayda» in the context of genre-stylistic searches of Ukrainian musical culture of the mid-20th century and the processes of academization of bandura instrumentalism. Methodology of the work. Essential for this work are genre-stylistic, intonational, musical-culturological, as well as analytical-musicological research methods. The scientific novelty of the work is determined by the fact that it first presents analytical generalizations regarding the genre-intonational specificity of K. Myaskov’s rhapsody «Bayda», which is one of the brightest examples of academic bandura instrumentalism of the 20th century. Conclusions. The modern stage of development of bandura, original bandura creativity and performance genetically goes back to the ancient traditions of Ukrainian culture and its spiritual and ethical guidelines. Bandura art was formed in direct connection with kobzarism, the culture of the Ukrainian Cossacks and the living folklore practice associated with them, which in the 20th and early 21st centuries is the subject of active revival and creative assimilation within the framework of academic bandura art. The sound image of the bandura has become a vivid embodiment of the heroic and patriotic spirit of Ukrainians, their culture, spirituality and national worldview, in which the past and the present are organically combined. The work of the outstanding Ukrainian composer K. Myaskov is a significant contribution to the development of academic bandura art and the expansion of its performing and pedagogical repertoire, formed against the background of Ukrainian musical neo-folklorism of the middle and second half of the 20th century. A striking example of this kind of work can be considered the rhapsody («concert piece») «Bayda», which is also in demand in modern bandura performance practice. The genre and style indicators of this work, based on the intonations of Ukrainian folklore sources («Song about Bayda» and «Oh, the girl walked along the bank»), are formed at the intersection of typological features of rhapsody, concerto, and variation cycle. The structurally analyzed composition by K. Myaskov has the features of a freely interpreted sonata form, within which the traditions of romantic European instrumentalism are organically combined with the neo-folkloric direction of the development of thematics, indicative of Ukrainian music of the 20th century.

«CHILDISHNESS» OF MUSICAL-RHYTHMIC PRACTICE METHODS IN SEARCH OF METHODOLOGICAL DEPTH

Tetiana SAMAYA — 2025-11-07

The aim of this article is a comprehensive reflection on the epistemological and methodological foundations shaping the concept of rhythm in music education practice, as well as an analysis of the deeper levels of musical thinking. The research methodology is based on an interdisciplinary approach encompassing the philosophy of time, cognitive sciences, pedagogy, musical phenomenology, and studies of renowned methodological systems (Émile Jaques-Dalcroze, Zoltán Kodály, Carl Orff, Shinichi Suzuki, Edwin Gordon, among others). Critical-analytical and hermeneutic methods are applied to reveal the ontological basis of rhythmic thinking. The scientific novelty lies in rethinking rhythm as a phenomenon of internal, pulsating time, inseparably linked with bodily, intonational-semantic, and aesthetic experience. The concept of “rhythmology” is proposed as an alternative to reductionist approaches common in children’s music pedagogy. The conclusions highlight the need to abandon simplified and abstract methods, often justified by “child accessibility,” in favor of a post-methodological mode of thinking. In this approach, the teacher is not confined by rigid system boundaries but flexibly integrates elements of various methods based on critically reflected knowledge. The study addresses a methodological crisis in the field of teaching musical rhythmics, caused by the reduction of rhythm to external counting structures, sound imitation, and schematic graphic representations. It emphasizes that such an approach fails to reveal the true artistic, temporal, and intonational nature of the rhythmic phenomenon, turning music education into mechanical reproduction detached from the psychological experience of rhythm-time as a meaningful category. The article aims to identify the cognitive and philosophical premises that define the perception, interpretation, and teaching of rhythm theory as an integral part of musical experience. Special attention is given to pedagogical strategies that can correct conceptual distortions or foster the development of a genuine sense of time and intonational sensitivity. Rhythm should be mastered not through mechanical counting or reproduction of notation patterns, but as a living experience of time ‒ fluid, intonationally rich, and aesthetically organized musical movement.

THE PROBLEMATICS OF MUSICAL RESEARCH AS A KEY TO UNDERSTANDING THE TYPOLOGICAL CHARACTERISTICS OF THE GENRE

Daryna SUPRUNOVA — 2025-11-07

The musical is one of the emblematic genres of modernity, characterized by dynamic development while simultaneously avoiding a radical departure from the primary generic model established at the initial stage of its evolution. Scholarly interest in this phenomenon arises primarily from the aspiration to comprehend the artistic potential embedded within it. The emergence of numerous variations of the genre is determined above all by the expressive capacity and stylistic diversity employed by its creators. Research conducted in both Ukrainian and international academic contexts – focusing on the general and specific regularities of the genre, on individual works, and on localized tendencies (notably those rooted in Broadway traditions) – has provided a basis for evaluating the precision of typological characteristics attributed to the genre and the terminological formulations underlying them. The significance of this stage in accumulating theoretical data for further study lies not only in the search for terminological adequacy in relation to the genre’s specificity and authors’ intentions, but also in the identification of deeper structural layers of dramaturgy and expressive means within each work. These structures enable us to interpret musicals not solely as representatives of “popular culture,” but also as substantial foundations of contemporary synthetic genres, capable of constructing meaning through the manipulation of widely recognizable elements and symbols across diverse cultural contexts. A survey of the issues addressed in various studies of the genre has likewise underscored the necessity of a more profound exploration of both stage and screen forms of the musical, with the aim of clarifying their typological parameters and revealing potential differences in the semantic space of these variants in relation to the invariant generic model. In the conditions of the ontological orientation of contemporary art, the reconfiguration of research vectors facilitates a more profound comprehension of meanings, discourses, and paradigms. Thus, by rejecting oversimplifications and conventional stereotypes, a more comprehensive and multifaceted perception of the world becomes possible. The aim of this article is to substantiate appropriate approaches to understanding the typological characteristics of the musical by examining the directions outlined in published research regarding the study of this genre and its typological features. The methodology of the study is based on the analysis of similarities and differences in the application of systembased methods typical for a particular domain, while simultaneously exploring approaches to interpreting contextual projections as they manifest in specific expressions of genre or style. The scientific novelty of the proposed research lies in introducing the aspect of artistic significance into the scholarly discourse on the musical, as well as in substantiating the potential for theoretical emphasis on studying the genre not only as a representative of “popular culture” but also as a manifestation of contemporary understandings of genre synthesis. The conclusions highlight the possibility of drawing attention to the relationship between invariants and the specific features of genre variants. The musical, as a genre offering a variable «worldview» within thematically characteristic domains, reveals a distinctly conceptual dimension in its development. At the same time, a promising direction for further inquiry remains the search for and substantiation of criteria for systematizing musicals.

FROM ACOUSTICS TO ELECTRONICS: THE EVOLUTION OF VOCAL AND INSTRUMENTATION IN POP MUSIC

Marianna SUKHOLOVA — 2025-11-07

The aim of the research is to analyze the evolution of vocals and instrumental accompaniment in pop music from the mid-19th century up to the present day, with an emphasis on technological and aesthetic factors that have influenced musical style. The key stages of changes in vocal manner are considered from live emotional delivery to the use of digital effects, such as autotune, harmonizers and vocal synthesizers. The impact of electronic instruments, MIDI technologies, digital audio workstations (DAW) and artificial intelligence algorithms on the process of music production, composition structure and sound aesthetics is analyzed. The research methodology is based on a combination of musicological analysis, historical and cultural review, content analysis of musical texts and media research. A comparative analysis of audio recordings from different periods is used, which allows us to trace changes in the timbre palette, rhythm and harmonic filling. The scientific novelty lies in the systematic understanding of the transformations of vocals and instrumentation in the context of the digital revolution, which covers not only technical aspects, but also profound changes in creative thinking. The conclusions indicate that the development of pop music is the result of the interaction of technical progress, changes in the cultural demands of the audience and the search for new forms of musical expression. Modern pop music demonstrates a tendency towards hybridity, combining acoustic traditions with electronic experiments, which opens up new prospects for creativity. Prospective areas of further research are outlined: the impact of algorithmic music on the emotional perception of listeners, the issue of copyright in the context of AI compositions, the socio-cultural consequences of the democratization of music production through online platforms, as well as a comparative analysis of analog and digital sound. The work contributes to a deeper understanding of the interaction of music, technology, law and society in the digital era, opening up broad opportunities for further interdisciplinary research.

PERFORMATIVE TRENDS IN CONTEMPORARY UKRAINIAN OPERA

Olga UMANETS — 2025-11-07

The purpose of the article is to conceptualise performativity in contemporary national opera. The methodology of the article is based on comparative principles, which involve a combination of cultural and systemic approaches, as well as musicological research strategies, in particular genre analysis. The scientific novelty is determined by highlighting the significance and specificity of performative trends in the contemporary interpretations of the opera`s genre model. Conclusions. It is emphasized that the conceptualization of performativity is associated with its acquisition of the status of an independent content-and structure-forming component of the genre model of opera, which serves to form its new perceptual horizons, intertextual dimensions and semantic multidimensionality, reflecting the postmodern revision of the significance of axiological landmarks, the processes of diffusion and transformation of genre model parameters, and the production of new genre formations. It is shown that in contemporary representation of operas by G. Rossini and D. Bortniansky, performative innovations ensure: the formation of timeless conceptual dimensions of works and their relevance to the paradigmatic landmarks of postmodernity; the clarification of the transformation of the structural parameters of the works shifts in the relationship between vocal and acting principles; the modulation of academic tradition into the space of mass culture; the actualization of the function of the vocalist as a carriertransformer of cultural codes. It has been found that the intensification of the performative component in contemporary interpretation of the genre model of opera in the works by V. Gubarenko, Ye. Stankovich, O. Kozarenko and Z. Almashi reflects the processes of genre diffusion and becomes an important means of: concept and structure formation; positioning the academic genre as a concentrated embodiment of national spiritual experience; creating a metaphorical, symbolic artistic space; representing hidden meanings. It has been shown that in the mono-operas by K. Maidenberg-Todorova and L. Yurina performative innovations are marked by: appeals to the codes of historical and cultural eras, which ensure the semantic multidimensionality of the works; the significance of non-academic means of expression, which level out the boundaries of academic vocals, give the vocalist the function of a directors and, in fact, co-author of the work, and also form new ways of artistic communication related to the modulation of opera from the academic space to the space of everyday life.

CLASSICAL CROSSOVER AS A SYNTHETIC STYLE AND PEDAGOGICAL MODEL OF CULTURAL DIALOGUE IN CONTEMPORARY VOCAL ART

Hanna TSAP — 2025-11-07

The purpose of this article is to conduct a comprehensive study of the phenomenon of classical crossover as a synthetic vocal style and pedagogical model of cultural dialogue, in particular to identify its artistic, technical and interpretative features, as well as to outline the possibilities of using this style in the professional training of vocalists. The research methodology. The study is based on an interdisciplinary approach that combines methods of musicology, cultural studies and pedagogy. Cultural analysis was used to consider classical crossover as a phenomenon of postmodern culture and a model of cultural dialogue; a comparative-stylistic method was used to identify the characteristics of the interaction between academic and popular traditions; a historical-chronological approach was used to trace the evolution of the genre in the context of globalisation processes; an analytical method was used to study the performance and vocaltechnical aspects. The scientific novelty lies in considering classical crossover as a synthetic style and pedagogical model that combines academic and popular vocal traditions, contributes to the formation of universal performance competencies and intercultural dialogue. The technical and interpretative strategies of performers have been clarified, and the potential of vocal cross-training for integrating this style into the professional training of vocalists has been determined. Conclusions. Classical crossover is a landmark phenomenon of postmodern musical culture that combines academic and popular traditions based on the principles of polystylism, ‘open art’ and collage thinking. It performs aesthetic, cultural-educational and marketing functions, offering a conscious rethinking of cultural codes and expanding the audience for academic music. The vocal flexibility of performers, the combination of bel canto technique with pop elements and the concept of vocal cross-training shape the versatility and adaptability of artists. Despite criticism, the genre has established itself as a platform for dialogue between ‘high’ and popular art, and its integration into educational programmes will contribute to the development of a multi-genre and creative model of vocal training.

NATIONAL VECTOR OF THE SOUND IMAGE OF THE PIANO IN THE PROGRAM MINIATURE OF CHINESE COMPOSERS OF THE OTHER HALF OF THE ХХTH CENTURY

Zhang YUNSHUO — 2025-11-07

The purpose of the work is to reveal the national vector of the piano sound image in the program miniature of Chinese composers of the second half of the 20th century, Chen Peixiong, Wang Jianzhong, and Sun Yiqiang. The article examines the features of the manifestation of the national vector of the piano sound image in the program miniature of Chinese composers of the second half of the 20th century. The role of the national in the semantic filling of Chinese piano art, the coloring of the artistic thinking of composers with the national color, qualitatively different states of the manifestation of the national vector of the piano sound image in the program piano miniature, which acts as a unique form of artistic expression, which reflects the specifics of national thinking, are determined. The program miniatures of Chinese composers of the second half of the 20th century Chen Peixiong, Wang Jianzhong, Sun Yiqiang are analyzed in the context of the national vector of the piano sound image. Research methodology. To carry out a musicological analysis of the program piano miniatures of Chinese composers of the second half of the 20th century, we applied a range of analytical methods (intonational, hermeneutic, comparative, historical-stylistic, onto-sonological), which allowed us to identify the specifics of the national vector of the piano sound image at the level of the individual thinking of the indicated composers, as well as to generalize the common features of their reproduction of the national flavor in the works. The scientific novelty lies in the attempt of a comprehensive approach to highlighting the national specificity of the piano sound image in the program miniature of Chinese composers of the second half of the 20th century. The article indicates that the national piano sound image in the program miniature of Chinese composers is formed against the background of the synthesis of traditional culture and modern compositional means of European music. It is proved that the following elements of the musical text were common to various composers of the second half of the 20th century in the embodiment of the national specificity of the piano sound image: intonation-melodic and mode structures, rhythmic-linguistic features of the presentation of the material, the variational principle of its development, texture-timbre techniques, sound-like dramaturgy. The avant-garde piano sound image in these works reflects not only the aesthetics of the timbre-sonor sound of the instrument, enriched by the compositional techniques of writing of this historical period, but also the psychoaesthetic features of the Chinese worldview.

MALCOLM ARNOLD’S CONCERTO FOR GUITAR AND ORCHESTRA: GENRE AND STYLISTIC DIMENSIONS

Anastasiia SHNYROVA — 2025-11-07

The flourishing of guitar art in Great Britain refers to the second half of the 20th century. This period was marked by the emergence of a number of solo and concert-symphonic works for guitar, which became the composer’s response to the performers demand, arising from the rapid spread of this trend in academic concert practice. This article examines Malcolm Arnold’s Concerto for Guitar and Orchestra, Op. 67 (1959) – the first work of this genre in the history of English music. Due to the brightness of its thematic material, neoclassical writing style, synthesis of English folklore and jazz, and original orchestration that allows for the natural sound of the instrument, this opus deserves the attention of Ukrainian researchers for further analytical study of Arnold’s works and its introduction into the contemporary national guitar repertoire. The aim of the article is to identify the specifics of the genre in M. Arnold’s Concerto for Guitar and Orchestra, Op. 67. Methodology. The study employs a range of methods: the biographical method, aimed at revealing and systematizing the main facts of the composer’s creative life; the genre-stylistic method, used to determine the specific features of the guitar concerto genre in Arnold’s work; the structural-compositional method, aimed at highlighting the peculiarities of formbuilding in the composition; and the interpretative method, related to the analysis of the Concerto from the standpoint of performance principles. Scientific novelty is the first analytical study of M. Arnold’s Concerto for Guitar and Orchestra, Op. 67, in Ukrainian musicological research practice. Conclusions. The research established that Malcolm Arnold was the first among British composers who, when turning to the guitar concerto, rejected the traditional clichés associated with this field. Special attention is given to the composer’s use of English folk melodies as an alternative to Spanish ones – the traditional basis of academic guitar music – and to the inclusion of jazz stylistics, which had gained popularity among his contemporaries. The harmonious combination of diverse elements, as musical codes of the past and present, defines the original style of the work under consideration.

PRINCIPLES OF TIMBRAL ORGANIZATION IN O. SHCHETYNSKY’S STRING QUARTET

Khrystyna YURKO — 2025-11-07

The relevance of this study is determined by the growing interest in contemporary Ukrainian chamber music, in which the timbral dimension assumes a leading role as both a structural and artistic-expressive factor. The aim of the article is to analyze the principles of timbral organization in Oleksandr Shchetynskyi’s String Quartet (1991) based on the oppositional categories of integration/disintegration and inertia/activity. The scientific novelty of the work lies in introducing the composition into scholarly discourse and demonstrating how microthematism and microchromatics, highlighted by the author in the preface, function in close connection with timbral and textural processes, forming an integrated system of material organization. The analysis reveals that the principles of timbral organization operate at levels ranging from local elements (secondmotif, pizzicato, glissando, harmonics) to larger structural sections. The principle of integration ensures the stability of textural layers, uniformity of dynamics, register, and articulation, creating a cohesive sound and meditative character in the second movement and the finale. Disintegration is realized through variation in register, dynamics, articulation, and sound-production techniques, contributing to motivic-thematic transformation, polyphonic density, and dramaturgical contrasts in the first and third movements. Inertia emphasizes the constancy of sound-production techniques (legato, pedal figures), supporting the internal stability of voices and gradual material development, whereas activity is manifested through rhythmic and timbral-textural variability, providing dynamic development and expressive depth in each section. The finale demonstrates a synthesis of these principles: integration predominates, while local manifestations of disintegration and activity create subtle dramaturgical accents, approaching an open, postmodernist model of closure. Timbral organization thus serves as the primary means of material development, replacing traditional thematicism and ensuring cohesion and multidimensionality within the quartet’s structure.

CULTURAL ASPECTS OF VIDEO GAMES IN A SOCIAL CONTEXT

Vasyl VAHERYCH — 2025-11-07

The purpose of the article is to identify and analyze the cultural aspects of video games in a social context, focusing on their role as a tool for sociocultural interaction, symbolic communication, and personal involvement. The paper will explore how video games not only reflect modern social trends, but also actively shape them, acting as a full-fledged space for the formation of new patterns of behavior, understanding of community, identity, and values. Special emphasis is placed on studying the mechanisms of cultural transmission through gaming practices, analyzing ways to build virtual communities, and investigating the processes of symbolic exchange in digital gaming spaces. The research methodology is based on an interdisciplinary approach that combines cultural, socio-philosophical, media-analytic, and game analysis.Methods of structural-semiotic analysis were used to study the symbolic systems of video games, a phenomenological approach to study the experience of gamers, and tools of digital anthropology to analyze online communities. Particular attention is paid to the elements of ritualization, narrative structure, emotional involvement and interface design as factors that determine the features of the gaming experience. The study also includes an analysis of specific gaming projects that demonstrate various models of cultural interaction and social influence. The scientific novelty of the study lies in the cultural rethinking of video games as an independent phenomenon of digital culture, which has its own logic, semiotics and social power. It is emphasized that the video game ceases to be just a means of entertainment and turns into a form of cultural expression and a platform for social modeling. For the first time, a comprehensive typology of the cultural functions of video games is proposed, which includes educational, socialization, therapeutic and creative components. The conclusions emphasize that video games act as a new type of cultural code that encompasses both aesthetic and social components, allowing the player not only to consume content, but also to participate in the process of creating meanings and interaction in the digital environment. The need to develop a new methodological paradigm for studying interactive media as full-fledged cultural phenomena capable of influencing the formation of a modern civilization model and changing traditional forms of socio-cultural organization is substantiated.

RITUAL AS A MECHANISM FOR THE TRANSMISSION OF CULTURAL VALUES

Galina VOLKOVA — 2025-11-07

Purpose. The article aims to examine ritual as a multilayered cultural phenomenon that combines symbolic activity, collective experience, and archetypal structures, as well as to reveal its role in the transmission and actualization of cultural values. Methodology. The study employs cultural and philosophical-symbolic approaches, drawing on the concepts of M. Eliade, E. Cassirer, S. Langer, and C. G. Jung. Methods of comparative cultural analysis and semiotic description are applied to uncover the polysemy of ritual and its functions within culture. Scientific novelty. Ritual is conceptualized as a multilayered symbolic form that integrates social, artistic, religious, and psychological dimensions. The study demonstrates the interrelation of Cassirer’s symbolic theory, Langer’s aesthetic philosophy, and Jung’s archetypal theory, which interpret ritual as a mediator between the individual and the collective, the rational and the irrational, in the transmission of cultural values.Conclusions. The analysis establishes that ritual represents one of the fundamental forms of cultural existence, ensuring the reproduction of values through symbolic actions and uniting different levels of cultural experience: the sacred (Eliade, 2001 ), the symbolic (Cassirer, 1955), the aesthetic (Langer, 1957), and the archetypal (Jung, 2017). Through ritual, cultural experience and collective meanings are transmitted, where symbolism not only represents but also actualizes the deep structures of cultural consciousness. Ritual performs a transformative function: it shapes cultural identity, links the present with the mythical past, and integrates the individual with the collective, the rational with the non-rational. Due to this multilayered nature, ritual appears not only as a social or religious act but also as a universal symbolic form that ensures cultural continuity and opens the possibility for both personal and communal transformation.

CULTURAL TOURISM AS A FACTOR IN COMMUNICATIVE RENEWAL OF PERSONALITY: CULTURAL-ANTHROPOLOGICAL ASPECT

Artur OPEIDA — 2025-11-07

The purpose of the article is to highlight the cultural and anthropological aspect of tourism as a factor in the existential and communicative renewal of the personality.The research methodology is based on an interdisciplinary strategy of sociocultural analytics, which is based on a synthesis of cultural-anthropological, philosophical-culturological, historical and sociological approaches.The scientific novelty lies in the conceptualization of cultural tourism as a factor in the existential and communicative renewal of modern man through the prism of socio-cultural analytics and a cultural-anthropological approach.Conclusions. It has been proven that cultural tourism can serve as a powerful catalyst for the existential and communicative renewal of the individual, contributing to the expansion of worldview, the development of self- awareness, and the improvement of communication skills. Traveling to new cultural environments stimulates rethinking of one’s own values, beliefs, and goals, and also helps establish connections with other people and cultures. Thus, cultural tourism is not just a vacation, but also a powerful tool for personal growth and development. It allows you not only to enrich your cultural baggage, but also to transform your own life, making it more conscious, rich and meaningful. It is substantiated that an important methodological guideline in such research is a cultural-anthropological approach aimed at analyzing cross-cultural interaction in order to identify and understand more deeply universal patterns of tourist activity and specific features due to ethnocultural differences and the uniqueness of individual human travel experiences.

NON-REMINISCENCE AS AN AESTHETIC STRATEGY OF CONTEMPORARY UKRAINIAN THEATER: FROM PERIPHERY TO NEW PRESENCE

Volodymyr HORYSLAVETS — 2025-11-07

The purpose of the work is to conceptualize aesthetic practices that function outside the system of cultural references by creating a theoretical framework of NON-reminiscence based on the synthesis of concepts of production of presence (H.U. Gumbrecht), aura and surplus of experience (W. Benjamin, S. Kracauer), and recursive structures of consciousness (D. Hofstadter) for the analysis of contemporary theatrical processes in Ukrainian and international contexts. Methodology is based on a phenomenological approach to the analysis of theatrical experience as presence; a comparative method for comparing NON-reminiscent practices from F. Kafka to contemporary theater; structural- semiotic analysis to identify recursive mechanisms. The key methodological principle is the analysis of theatrical phenomena starting from the effects of presence rather than meaning. Scientific novelty. For the first time, theatrical practices that have existed since the beginning of the 20th century but lacked adequate theoretical comprehension have been systematized and conceptualized. The concept of NON-reminiscence is introduced as an aesthetic strategy for creating theatrical experience without appeal to cultural memory. It demonstrates how the synthesis of concepts of presence, aura, and strange loop creates a productive analytical model for understanding contemporary theater. The specificity of NON-reminiscent strategies in the Ukrainian context as a response to traumatic experience and the impossibility of traditional representation is revealed. Conclusions. NON-reminiscence is a productive conceptual framework for analyzing a significant segment of theatrical practices of the 20th-21st centuries. From Kafka’s literary experiments to contemporary immersive performances, a common logic of rejecting cultural references in favor of pure presence can be traced. In Ukrainian theater, these strategies acquire special significance as a way of working with the traumatic experience of war. The concept opens new perspectives for theater criticism, education, and therapeutic practices.

THE IMAGE OF DANCE IN CULTURAL ANTHROPOLOGY

Artem DANKANICH — 2025-11-07

Dance is not only an aesthetic dimension of life but also a form of its profound comprehension. It often reflects those aspects of social existence that are difficult to convey through verbal means. Its origins date back to the pre-literate era, which testifies to the fundamental influence of dance on human life since the very beginning of civilization.The aim of the article is to explore the image of dance in the concepts of leading cultural anthropologists such as E. Tylor, J. Frazer, B. Malinowski, E. Evans-Pritchard, and J. Eller.The research methodology. The methodological framework of the article is based on the principles of historicism and the comparative method, which made it possible to identify the connotations of dance both in modern culture and in primitive and traditional cultural practices.Scientific novelty. The analysis of the works of George Frazer, Bronisław Malinowski, E. E. Evans-Pritchard, and Jack Eller demonstrates that in primitive societies dance constituted an integral part of religious, social, and cultural practices.It functioned not only as a form of artistic entertainment but also as a sacred ritual, a means of communication with the supernatural, an instrument of social integration, and a symbolic representation of vital processes (hunting, warfare, agriculture). The dramatic art of European civilization originated from the sacred dances of Ancient Greece, which confirms the deep interconnection between dance, theatrical, and literary forms. At the same time, ethnographic evidence from New Guinea, Africa, and Tibet illustrates the universal character of this phenomenon: in different cultures, dance served as a «bridge» between humans, nature, and the sacred sphere.Conclusions. Despite the almost complete disappearance of sacred dance in modern culture, its rudimentary forms are still preserved in folk traditions, ceremonies, and rituals of various ethnic groups. This testifies to the resilience of dance as a universal cultural practice capable of combining religious, social, and aesthetic principles. Thus, dance emerges not only as an artistic phenomenon but also as a fundamental form of expressing the collective experience of humanity, manifested across different historical periods and cultural traditions.

PHENOMENON OF THEATER AND CINEMA IN THE LIGHT OF ANCIENT CULTURAL HERITAGE

Rymma DANKANICH — 2025-11-07

It is hard to imagine the modern world without theatrical performance and cinematic art. Their impact on public consciousness cannot be overstated. In the 21st century, theater and cinema remain among the most influential forms of art, not only reflecting sociocultural processes but also actively shaping the values, worldviews, and aesthetic orientations of society. In contemporary culture – characterized by hybridity, dynamism, and the growing influence of digital technologies – both theatrical and cinematic arts are acquiring new meanings and forms, becoming important communicative platforms. Theater, while preserving its ritualistic and dramatic foundations, increasingly integrates elements of performativity, multimedia, and social engagement. It unites the realities of multiple artistic disciplines: dramaturgy, directing, acting, and more. Cinema, in turn, as a mass art form, not only entertains but also fulfills educational, critical, and artistic functions, creating and enriching a space for diverse forms of communication, including intercultural dialogue. Both art forms respond to global challenges such as war, pandemics, and ecological crises, while simultaneously rethinking human identity, memory, and the future. Accordingly, the aim of the article is to analyze the phenomenon of theatre and cinema in the context of the ancient cultural heritage, with a particular focus on ancient tragedy as a universal artistic model that integrates aesthetic experience, mythological thinking, and ontological reflections on the nature of human existence. The research methodology combines descriptive, hermeneutic, and phenomenological methods with the principle of historicism. This methodological framework has made it possible to determine the specific features of the formation and development of theatre and cinema, as well as to outline their place in contemporary culture. Scientific novelty. Theater and cinema, within the framework of world culture, represent a complex sociocultural phenomenon. This phenomenon is marked by their ability to generate new opportunities through the creative interaction of theatrical and cinematic arts, demonstrating the effectiveness of integrating these forms. Such achievements are made possible through profound research conducted by leading global theorists of theater and cinema. The most renowned theorist of ancient theatrical art is Aristotle. In the context of critical studies of theater and cinema, reference to Aristotle’s Poetics remains relevant, driven by the need to comprehend classical aesthetic principles within the modern cultural space. Friedrich Nietzsche’s philosophy, offering a profound reinterpretation of the Dionysian myth, brings to the forefront the irrational, ecstatic, and transcendent aspects of creativity, manifested in both classical tragedy and the experimental cinema of the 20th and 21st centuries. According to Nietzsche, tragedy is not merely an artistic form but a means of reconciling human consciousness with the inevitability of suffering through the aesthetic experience of beauty. Myth, in turn, is not a static archetype but a dynamic instrument for shaping cultural identity, continually renewed through the artistic act. Through myth and tragedy, Nietzsche restores to European culture an awareness of the deep irrational energy that underlies both creativity and human existence. Conclusions. In contemporary theatre and cinema, the same aesthetic and philosophical models that originated in antiquity continue to operate, yet they acquire new forms through technical means, virtual environments, and the transformation of modes of perception. This demonstrates the continuity of cultural memory and the necessity of a systematic, interdisciplinary interpretation of artistic practices in the light of classical sources.

CULTURAL AND PHILOSOPHICAL ASPECTS OF PERSONALITY TRANSFORMATION THROUGH SPIRITUAL ALCHEMY IN THE LIGHT OF NEO-CONFUCIANISM

Olga KALASHNIKOVA — 2025-11-07

The article is devoted to the analysis of important cultural phenomena of the modern globalized society on the example of the study of a Chinese artifact of personal and social life «inner alchemy», which characterizes the search for ideas of general modernization from the Yellow Turban Rebellion (黃巾起義) to the Yixuan Rebellion (義和團運動). These factors, on the one hand, determine the exclusivity of cultural and political processes in Chinese society, and on the other hand, are powerful markers of the supra-personal mechanisms of self-regulation and progress of the entire human community. Since the leading Taoist sources of such ideas, the Tai Ping Jing (Canon of Majestic Tranquility) (太平清領書), were partially or completely lost in ancient times, the authors turn to the conceptual apparatus of Neo-Confucianism, which doctrinally responded to the challenges articulated by Taoism. The basis of the scientific research is the modern counterpart of traditional Taoist alchemy, the concept of «Martial arts», which is becoming a significant identifier of contemporary mass culture in both Eastern and Western societies. The terminological analysis of this concept in modern China allowed us to consider comprehensively the historical features of its formation from Wushu (武術) to Qigong (氣功), and to testify to the continuity of Chinese spiritual culture from Hong Xiuquan (洪秀全) to Mao Zedong (毛澤東).The logic of scientific research did not ignore the content-forming component of inner alchemy and traditional Chinese medicine, the energy Qi (氣), which is revealed in the traditional natural philosophical view of the separation of the Body and Soul of the individual in social life. The latter are revealed as a manifestation of the «vital energy» for the «Xin Body» (心) and the «Shen Soul» (神). On the example of treatment with traditional remedies, it is shown that these concepts are interdependent and complementary, in contrast to European views, which, starting with the Pythagoreans, looked at the «body as a prison of the soul». In classical Greek-language literature, and later in Christian apologetics, which shaped European civilization, this image was often conveyed in its present form by a play on words based on the phonetic similarity of «soma» («body») and «sema» («grave»). Further research is considered promising, which, using the example of Taoist alchemy, can show the process of the Renaissance as a global cultural progress towards the «rehabilitation» of human body culture and the modernization of society.

INNOVATIONS IN CHOREOGRAPHIC ART. APPLICATION OF ARTIFICIAL INTELLIGENCE AND NEURAL NETWORKS IN CHOREOGRAPHY

Karyna KURTIEVA — 2025-11-07

The article attempts to carry out a cultural analysis of the use of artificial intelligence (AI) and neural networks in the course of work on the creation of choreographic works. The main ways of coexistence of digital technologies and traditional forms of art, primarily dance, are outlined. The mechanisms of movement generation using machine learning, cooperation between a live choreographer and artificial intelligence are characterized. The article reveals the transformation of the artist’s purpose as an author, his interaction with the audience and modern technologies. Further attention is focused on the use of AI in the educational environment when studying choreography. And the creation of modern interactive performances, which are observed in real time, and virtual performances is the next vector for considering the implementation of AI. It is determined that the entry of AI and neural networks into the field of choreographic art poses a number of challenges for scientists, however, it opens up new opportunities for the implementation of artistic ideas. In addition, modern artists face a number of cultural and ethical questions that still need to be answered. The fact of the need for thorough research into the consequences of the use of artificial intelligence and neural networks on the choreographic language of modern dance, cultural space, aesthetic principles and categories in the realities of the posthumanist era has been stated.The purpose of the study is to investigate and analyze the possibilities and resources of using artificial intelligence and neural networks in the creation of choreographic works, their impact on the artistic process; to outline the parameters of the collaboration of modern art and the latest technologies and to determine the nuances of the symbiosis of artistic and artificial intelligence.Research methodology. The following research methods were used in the article: a systematic approach to introduce AI technologies to the creation of choreographic products; comparative analysis to substantiate the relevance and justification of its use; synthesis and generalization to formulate conclusions.The scientific novelty of the publication lies in the introduction of AI into the field of choreographic art, which contributes to its modernization and modernisation and opens up fundamentally new opportunities for the implementation of creative ideas.Conclusions. The study made it possible to: consider the main modern AI tools used in choreography; analyze the cooperation between AI and the author of a choreographic work; highlight the possibilities and resources of using AI in choreographic art and education; outline the ethical and cultural results of using AI in choreographic art.

PROBLEMS OF ROMA COMMUNITIES ABROAD AND IN UKRAINE IN THE SOCIO-CULTURAL SPACE OF THE LATE 20TH AND EARLY 21ST CENTURIES

Oleksandra MAGRYTSKA — 2025-11-07

The purpose of the study: to investigate the problems of Roma communities abroad and Ukraine in the socio-cultural space of the late 20th – first quarter of the 21st century. Research methods. To solve the set goal, general scientific and special methods were used, including: historical and cultural, analytical, informational. The method of cultural analysis was used to consider foreign materials on the life, lifestyle, and culture of Roma communities. The use of historical and cultural and informational methods made it possible to identify conceptual principles for understanding an objective idea of the historical foundations of the problems of Roma communities abroad and Ukraine and to outline further scientific prospects for the chosen topic. Scientific novelty. For the first time, the problems of Roma communities abroad and Ukraine and their features in the foreign scientific discourse of the late 20th – first quarter of the 21st century are analyzed for the perception and formation of an objective idea of Roma communities. The view of scholars from abroad and Ukraine on the problems of Roma communities is revealed in order to increase the level of self-identification, integration of Roma into society, as well as the development of Roma cultural heritage. Foreign studies of Roma culture and art take place in various contexts, including social, political, and culturological discussions. Issues are raised regarding discrimination and social exclusion of the Roma community in connection with ethnocultural features, such as: the stability of the Roma ethnic culture in observing special rituals, customs, and lifestyles that are passed down from generation to generation; the lack of a stable affiliation of the Roma to a single people and their division into sub-ethnic groups. The problems of Roma communities from abroad and Ukraine in the socio-cultural space of the late 20th – first quarter of the 21st century of American, European, and Ukrainian scientific discourse are considered. Conclusions..It has been proven that the specific way of life of the Roma is marked by a deep connection with nature, adherence to traditional values and a special way of social organization. It has been shown that the Roma traditionally pay more attention to spiritual development and observance of traditions than to the accumulation of material wealth. This is reflected in their artistic and musical creativity, religious rituals, legends and fairy tales, which are preserved and passed down from generation to generation. The mentioned studies provide a deeper understanding of the problems faced by Roma communities, highlight their cultural heritage and emphasize the complexity of the socio-economic situation in which the Roma population finds itself.

MASS CULTURE IN THE CONTEXT OF THE CREATIVE TRANSFORMATION OF CONTEMPORARY CULTURAL SPACE

Tamila PRYHODA-DONETS — 2025-11-07

The article is devoted to the cultural analysis of the phenomenon of mass culture in the context of the processes of creativization of contemporary cultural space.Purpose. The aim of the article is to investigate the phenomenon of mass culture within the context of creativization of contemporary cultural space and to outline the cultural consequences of this process.Methodology. The main propositions of the article are based on theoretical approaches to the definition of mass culture and the culture industry by T. Adorno, M. Horkheimer, J. Ortega y Gasset, and J. Baudrillard, as well as on the concepts of creativity, the creative class, and creative industries developed by R. Florida and A. Reckwitz.Scientific novelty. The article analyzes the relationship between mass culture and the creative class: on the one hand, mass culture provides tools for realizing creative potential; on the other, it subordinates creativity to market logic. It is proposed to consider the creative city as a space of “bricolage” that generates new meanings through the reinterpretation of existing cultural elements. The examples of Kamianets-Podilskyi and Barcelona are presented as models of combining mass culture and creative strategies, while the risks of gentrification and commercialization are also identified.Conclusions. It is stated that the key characteristics of mass culture, which developed throughout the previous century, are significantly and rapidly changing under the influence of digitalization processes. The article demonstrates that mass culture serves simultaneously as a platform for innovation and as a space for commercial standardization of cultural products. Particular attention is paid to creative industries as a factor of cultural transformation capable of combining economic development with the preservation of local identity. In the Ukrainian context, the role of mass culture in counteracting propaganda, supporting national identity, and fostering cultural resistance under wartime conditions is emphasized. The article concludes on the necessity of balancing economic, sociocultural, and ethical values to ensure the sustainable development of the creative class, as well as the preservation of authenticity and inclusiveness of the cultural environment.

THE ACTIVITY OF THE M. SADOVSKY VINNYTSIA STATE UKRAINIAN MUSIC AND DRAMA THEATRE IN THE 1960S AND 1970S AS AN IMPORTANT CULTURAL AND ARTISTIC HUB OF THE REGION

Tetiana SIDLETSKA — 2025-11-07

The purpose of this article is to reveal the specifics of the M. Sadovsky Vinnytsia State Ukrainian Music and Drama Theatre’s activities in the 1960s and 1970s as a significant cultural and artistic hub of the region. The methodology of the study is based on a systematic approach, which allows for viewing the theatrical art of Ukraine as a system, whose components are the theaters whose activities ensure its functioning and development. The use of a structural- functional approach makes it possible to analyze the activities of the M. Sadovsky Vinnytsia State Ukrainian Music and Drama Theatre in the 1960s and 1970s and to determine its role in the cultural and artistic life of the region.When working with archival materials, source study, historical, and historiographical methods are used to reconstruct the historical realities, as well as the political and socio-cultural processes of the period under study. The scientific novelty of the work lies in identifying the specifics of the M. Sadovsky Vinnytsia State Ukrainian Music and Drama Theatre’s activities in the 1960s and 1970s as a vital cultural and artistic center of the region, and in introducing archival documents and materials into scientific circulation that allow for the reconstruction of the theater’s functioning during the period under study. Conclusions. The activities of the M. Sadovsky Vinnytsia State Ukrainian Music and Drama Theatre in the 1960s and 1970s clearly reflect the complex and contradictory processes of the development of Ukrainian theatrical art under conditions of rigid ideological regulation and state control. Despite pressure from governing bodies, the dominance of officially approved themes, and the limitation of creative freedom, the theater’s troupe sought to promote universal values, affirm Ukrainian drama, and maintain audience interest in national art. The active touring activities of the M. Sadovsky Vinnytsia State Ukrainian Music and Drama Theatre both in Ukraine and abroad contributed to the popularization of Ukrainian theatrical art and the exchange of experience between domestic and foreign artists. The theater was an important cultural and artistic center in the Vinnytsia region, providing curatorial assistance to amateur theaters and artistic clubs, and organizing training courses for directors of amateur groups in the region.

TECHNOLOGICAL ART: DISCOURSES, TRANSFORMATIONS, PROSPECTS

Bohdan TYMOFIIENKO — 2025-11-07

In the contemporary cultural space, technological art plays an increasingly significant role as a domain of artistic reflection on scientific innovations, digital transformations, and social shifts. The changing status of the artwork, the introduction of new forms of audience interaction, and the integration of technologies into artistic practice necessitate a thorough theoretical consideration of this phenomenon. The article aims to highlight the main discourses, historical transformations, and developmental prospects of technological art, as well as to analyze methodological approaches to its interpretation. The research methodology combines cultural, phenomenological, sociocultural, and intermedial approaches, which allows for a comprehensive view of technological art as an integral component of contemporary culture.The scientific novelty lies in the proposed holistic systematization of historical stages and types of practices, as well as in the comparison of philosophical, historical, and technological perspectives with local contexts. It is demonstrated that technological art functions as a specific form of cultural modeling that simultaneously represents and constructs social relations, perceptual models, and regimes of sensibility. Analytical emphasis is placed on immersiveness, algorithmicity, relational interaction, bioethical dimensions, and issues of preservation/reproducibility of digital works. Special attention is given to Ukrainian media art, archiving practices, and the integration of local cases into the global discourse. The conclusions confirm that technological art is not only a new artistic phenomenon but also an instrument of critical reflection on the interrelation between humans, technology, and society. Its further study opens up new perspectives for the humanities, cultural policy, and educational strategies. The article also outlines future research directions, including the ethics and ecology of technological practices, the interface as a cultural form, methods of documentation and preservation, as well as models of curatorship and public participation in immersive and data-driven projects.

VOLYN PUPPET THEATRE IN THE CONTEXT OF CULTURAL TRANSFORMATIONS: REPERTOIRE, IDEOLOGICAL DIRECTIONS AND AESTHETICS

Mykola TSAPIAK — 2025-11-07

The purpose of the study. To analyze the evolution of the Volyn Academic Regional Puppet Theater during 1975– 2025 in the context of cultural transformations in Ukraine, to identify the main repertoire and ideological directions of the theater, and to trace changes in stage aesthetics and interaction with different audience groups. The research methodology. The study is based on a comprehensive approach combining historical-cultural analysis, theater studies methods, and chronological and comparative analysis of the repertoire. Methods include documentary and archival analysis, interviews with production participants, as well as analysis of critical publications and reviews of the theater’s performances. The scientific novelty. For the first time, a fifty-year chronological analysis of the Volyn Puppet Theater has been conducted, highlighting four key periods of development (Soviet, post-Soviet, pre-war, and contemporary). Patterns of transformation in the theater’s repertoire, ideological, and aesthetic approaches in the context of cultural and political changes in Ukraine have been identified. The article demonstrates how the puppet theater combines traditions of Ukrainian puppetry with innovative practices, responding to the needs of diverse audience groups. Conclusions. The Volyn Academic Regional Puppet Theater has undergone a complex development path, from implementing Soviet ideological narratives to forming a contemporary repertoire open to experimentation. Repertoire analysis shows that the theater is capable of combining traditional Ukrainian motifs with global dramaturgy, offering artistically and aesthetically rich performances to both children and adult audiences. Contemporary productions, including immersive and patriotic performances, demonstrate the theater’s ability to adapt to new sociocultural challenges while preserving national puppetry traditions.The theater’s current activities reveal openness to new performative practices and experimentation with both dramaturgy and performance formats.

CULTURAL AND COGNITIVE ASPECT OF UKRAINIAN AUTHORRITY

Svitlana SHEVCHENKO — 2025-11-07

Purpose. The article focuses on the study of power in the cultural and cognitive dimension, with special emphasis on the relationship between power and musical art. The main objective is to demonstrate how power functions not only as a political institution but also as a cultural phenomenon that produces symbols, memory codes, rituals, and meaning- making frameworks for society.Methodology. The research is based on an interdisciplinary approach combining cultural, historical-philosophical, socio-communicative, and musicological analysis. Theoretical contributions of M. Foucault, H. Arendt, J. Habermas, J. Assmann, as well as Ukrainian thinkers (H. Skovoroda, M. Drahomanov, M. Khvylovy) are employed. Particular attention is given to musical culture as an instrument of legitimizing power and a medium of cultural communication.Scientific novelty. For the first time, power in the Ukrainian context is interpreted as a cognitive resource manifested in the sphere of musical culture. It is shown that anthems, folk songs, academic ensembles, mass festivals, and contemporary frontline compositions shape the image of power not only in political but also in cultural-symbolic terms. The dialectical nature of these processes is revealed: power generates official images, while culture produces alternative ones.Conclusions. Power in the cultural dimension is a multidimensional phenomenon realized through rituals, symbols, myths, and musical memory. In the Ukrainian case it gains particular significance due to postcolonial legacy, Soviet experience, and the current war. Musical culture emerges as a crucial channel of communication between power and society, ensuring consolidation, identity formation, and cultural diplomacy. Future research may focus on the interaction of power with other artistic domains and with contemporary cultural industries.

YOUTH CULTURAL LEISURE: CONSTRUCTING AND REPRODUCING MEANING WITHIN SUBCULTURES IN THE CONTEXT OF MEDIA TRANSFORMATIONS

Viktor SHOSTAK — 2025-11-07

This work aims to identify the main worldview and cultural coordinates of specific forms of youth leisure and to describe the peculiarities of meaning construction and reproduction within subcultures in the Context of Media Transformations.The research methodology combines philosophical-theoretical, cultural and general scientific approaches. Specifically, the study employs the analytical-historical method, synthesis and abstraction, comparison, as well as methods of systematization and reconstruction of sociocultural phenomena. The scientific novelty. This article attempts to analyze and generalize the mechanisms through which cultural meanings are constructed and reproduced in the context of youth leisure and self-realization in media culture. It explores the interconnection between emerging forms of cultural space and new social processes in contemporary Ukraine. Conclusions. Each subculture consolidates around a core symbol, musical genre, religious teaching, philosophy, or similar element that forms its cultural code. This code is reproduced and transmitted through its texts, attributes, appearance, and naming. For example, the “cult of the road” reflects the meaning of travel and is expressed in participants’ appearance, accessories, and slang. The cultural code of gamers is shaped by virtual space and game-related themes. Gamer culture possesses its hierarchy, rules, names, and a “gaming movement” based on game texts. Some subcultures are unified solely by a specific place of communication, which takes on a meaning-making function. Such spaces of social gathering become markers of identity and symbols of group affiliation.In each subculture, special sign objects can be identified – verbal, ideographic, and situational sign objects, objects of the surrounding world that play a sign role in this subculture, and their spatial, temporal, object, and body codes. The spatial code, which is transformed in media culture, plays an important role in constructing the meanings of the youth subculture.

DRAWING AND PAINTING IN THE CONTEXT OF DIGITALIZATION: TRADITIONS AND NEW APPROACHES IN GRAPHIC DESIGN

Yana ANTONOVA — 2025-11-07

The article examines the place and role of drawing and painting as fundamental disciplines in the professional training of graphic designers in the context of the active digitalization of the educational process and artistic-creative practice.It is substantiated that despite the intensive implementation of digital tools, virtual and augmented reality, 3D modeling, algorithmic design, and artificial intelligence in visual communication, traditional artistic practices remain the basis for the formation of holistic artistic thinking. Academic drawing serves as a key means of developing observation, the ability to convey proportions, form, and spatial relationships, while painting provides a deep understanding of color harmonies, light and shadow contrasts, and plastic expressiveness.Special attention is paid to the interaction of classical artistic methods with modern digital approaches in the process of design education. It is shown that the use of tablet drawing, virtual studios, graphic editors, and specialized online platforms does not replace but complements traditional forms of learning, providing students with the opportunity to work in a hybrid environment. At the same time, it is noted that a complete rejection of traditional drawing and painting in favor of exclusively digital practices may lead to the loss of basic skills necessary for creating expressive and conceptually grounded design.The article systematizes current trends in the integration of academic and digital methods, which allow students to develop comprehensive competencies: analytical thinking, visual creativity, technological flexibility, and the ability to adapt to new conditions of professional activity. It is proved that the synthesis of traditions and modern technologies creates a unique field for experiments in graphic design, expands the boundaries of visual culture, and forms a basis for innovative practices. It is concluded that drawing and painting in the digital era do not lose their relevance but are transformed, opening up new perspectives in the training of designers and the development of contemporary visual art.

FASHION AS MEDIA: THE ROLE OF CLOTHING IN SHAPING SOCIAL NARRATIVES

Tetiana BAZYLSKA — 2025-11-07

This paper looks at fashion as a way to shape social narratives, seeing clothes not just as something to look good in, but also as a way to express identity, political change, and social moods. Objective. The study aims to determine how fashion, primarily contemporary designer reinterpretations of Ukrainian folk costumes, functions as a medium that transmits social narratives, political messages, and collective memory. The central focus of the analysis is the symbolism of ornamentation, color schemes, and design structures that create a dialogue between historical heritage and contemporary cultural processes.Methodology. The study is based on an interdisciplinary approach that includes: (1) historical and ethnographic analysis of 96 museum and private collections; (2) cultural semiotics used to interpret visual codes; (3) content analysis of 220 images from runway shows and social media platforms between 2014 and 2024; (4) case studies of five leading brands (Gunia Project, Varenyky Fashion, Oberig, Foberini, and Hvoya); (5) a critical review of more than thirty legislative acts regulating the use of national dress from the sixteenth century to the present; and (6) semi-structured interviews with 18 designers and 42 consumers, which enabled a comparison of creative intentions and public expectations.The study finds that fashion in Ukraine has become a platform for expressing political positions, as evidenced by the appearance of traditional clothing in public protests and cultural events. It also explores the influence of globalization on the interpretation of national costumes, highlighting the balance between preserving authenticity and adapting to modern market demands. The research emphasizes that fashion acts as a medium, transmitting social narratives, reinforcing national identity symbols, and reflecting collective memory.Scientific Novelty. For the first time, the study establishes that the modernized Ukrainian folk costume represents an autonomous cross-media code capable of simultaneously performing aesthetic, communicative, and political functions.It identifies mechanisms through which traditional symbols are reinterpreted in the context of global fashion. Authentic embroidery is incorporated into minimalist silhouettes, local fabrics are combined with technical textiles, and regional color palettes are adapted to the Pantone color system. The study outlines three design strategies: reconstructive, hybrid, and conceptual. Each approach produces its own set of cultural identity markers. The integration of folk motifs is shown to strengthen national identity in post-colonial and conflict-related contexts while also serving as an instrument of soft cultural diplomacy.Conclusions. The research concludes that clothing serves as an effective channel of social communication that shapes perceptions of community and shared values. Political transformations influence design decisions by altering the symbolic meaning of colors, patterns, and cuts. The preservation of cultural codes through fashion maintains a balance between authenticity and global market requirements, supporting the economic resilience of local producers. The incorporation of folk elements into everyday wardrobes promotes the visibility of intangible cultural heritage and extends Ukraine’s reach in international cultural diplomacy. Fashion is positioned not only as an indicator of social change but also as a catalyst that generates new visual scenarios of collective identity. Ultimately, clothing functions both as a consumer product and as a tool of communication that contributes to shaping cultural awareness and social cohesion.

FEATURES OF THE PSYCHOLOGICAL INTERPRETATION OF HUMANS IN THE ART OF EUROPEAN PAINTING

Mykola BOLYUKH — 2025-11-07

The purpose of the article is to study and substantiate the psychological interpretations of a person in different artistic styles of European painting, the change and dynamics of the development of visual interpretations of the character. The article analyzes the relationship of various styles of painting with social practices throughout the historical development of European culture: how culture in society, including art, is related to the formation of personality, human individuality; the relationship of styles and types of painting with the psychological characteristics of the consumer of fine art, the viewer of paintings of various styles.Art is a unique mechanism for the development of human personality, which shapes one’s worldview, creates a deep, dynamic, emotional picture of the world, and this is especially true in such a young country as Ukraine. Only a well- rounded, aesthetically developed person of culture in a broad sense is a worthy citizen and patriot.Methodology. The article examines the relationship between different styles of painting and the psychological characteristics of people interested in art. The level of connection between the interest in art of various styles of European painting, namely, Renaissance, Baroque, Classicism, Impressionism, Realism, etc., various forms of modernism, including Abstractionism, Surrealism and the formed individual life practices of the viewer is investigated. Emphasis is placed on the recipients’ interest (taking into account social, political, domestic, etc. factors) in the main styles of painting, such as religious, Renaissance, Baroque, classical, realistic, abstract, surrealistic, etc.Conclusions. The development of the art of European painting has psychologically interpreted the characters of paintings in different ways: from mystical and religious interpretation to romantic, from contemplative classical to instantly impressionistic, and even surrealistic. It turns out that the preference for different styles of painting is related to the result of the development of society, human life experience, individual practices and psychological characteristics of the viewer.

BUKOVINA’S DECORATIVE ART AS A CULTURAL PHENOMENON: TRADITIONS, SYMBOLISM, DEVELOPMENT

Nataliia HATEZH — 2025-11-07

The article explores the decorative art of Bukovina as a unique cultural phenomenon, which reflects the ethnic versatility and historical path of the region. Its key role in preserving folk traditions, worldviews and identity of the Bukovina people is considered. The author focuses on deep symbolism and semantics that is laid in patterns, ornaments and techniques that are used in various types of arts and crafts, including embroidery, Easter eggs, artistic carving and weaving. The purpose of the study is to comprehensively explore and reveal the phenomenon of the decorative art of Bukovina, focusing on its deep historical root, unique symbolism and dynamic development through the centuries. The article seeks not only to document the versatility of Bukovina traditions, but also to analyze their influence on the formation of regional identity and preservation of national heritage.The influence of historical and socio-cultural factors on the evolution of the decorative art of Bukovina, its transformation from purely utilitarian to aesthetic-artistic and ritual-symbolic was also analyzed. The interaction of folk crafts with professional art and their contribution to the formation of the Ukrainian art space is studied.The basic criteria by which Bukovyna decorative art are the phenomenon: geographical and historical synthesis, harmony and symbolism, aesthetics and color, diversity and perfection of techniques. The importance of Bukovina decorative art is formulated for the present, because it is a source of inspiration for modern designers, artists, fashion designers, higher education. It is emphasized that the study of art teaches us to appreciate manual labor, authenticity, and deep connection with nature and our own roots. On the basis of the analysis, it is concluded that the decorative art of Bukovina is not only part of the material heritage, but also a living source that supports the connection between generations and promotes the formation of national consciousness. It emphasizes the need for further study, preservation and popularization in the face of globalization.

THE ROLE OF INSPIRATIONS IN THE FORMATION OF THE INDIVIDUAL STYLE OF THE STUDENT-ARTIST

Olha KALENIUK — 2025-11-07

The aim of this article is to analyze the role of inspiration in the formation of an aspiring artist’s individual style and to identify methods for its stimulation within the educational process. The study is based on an interdisciplinary approach combining art history, pedagogy, and creativity psychology.The methodological framework includes the analysis of scientific literature in art history, pedagogy, and creativity psychology; a comparative analysis of the development of student works under the influence of various sources of inspiration (contemporary art, ethnic art, personal experiences); observation and analysis of students’ creative practices (academic and diploma works); elements of art-historical analysis of works demonstrating individual style; and interviews and discussions with students to identify their sources of inspiration.The scientific novelty lies in a systematic approach to inspiration as a factor in developing individual artistic style and in identifying methods for its active stimulation within the educational process. In this study, inspiration is understood not as a spontaneous impulse but as a systematic process shaped by various cultural factors influencing the creative personality. Within the educational context, it stimulates self-expression, the acquisition of new knowledge and techniques, and active creative activity. The formation of an individual artistic style implies the ability to transform diverse sources of inspiration into one’s own creative language without direct copying.Conclusions. The research shows that inspiration develops through a comprehensive approach combining practical experimentation, analysis of creative sources, reflection, and interdisciplinary influences. The study identifies the main sources of inspiration for young artists. It demonstrates that in art education, it is important not only to familiarize students with sources of inspiration but also to create conditions for conscious choice, encourage exploration and experimentation, and foster critical engagement with sources to develop a personal style.

PAINTING AS AN EDUCATIONAL TOOL FOR THE DEVELOPMENT OF DESIGNER CREATIVITY

Anna MAKOHIN — 2025-11-07

Painting, as a space of artistic communication, serves as an effective educational tool that fosters students’ visual thinking, self-expression, and creative problem-solving. The purpose of the study is to investigate the impact of painting as an educational tool on the development of key competencies in design students, namely creativity, critical thinking, and emotional intelligence. The article focuses on analyzing painting teaching methods within the formation of professional creativity in future fashion designers, exemplified by the Vasyl Stefanyk Precarpathian National University.The methodology included systematic observation, student interviews, analysis of creative works, and pedagogical experiments using watercolor and acrylic painting techniques to stimulate observation skills, visual thinking, and self- expression abilities.The scientific novelty lies in the integrative application of Howard Gardner’s theory of multiple intelligences, Rudolf Arnheim’s concept of visual thinking, and pedagogical approaches of Elliot Eisner and Robert Sternberg to substantiate the role of painting in shaping a designer’s creative personality. For the first time, modern innovative practices have been synthesized, and a methodology was developed that considers individual student characteristics and overcomes cultural stereotypes through interdisciplinary tasks and active reflection.The conclusions demonstrate that painting functions not merely as a technical discipline but as an intellectual activity that develops complex cognitive functions and emotional sensitivity. Creating a safe educational environment for experimentation and error fosters motivation, cognitive adaptability, and supports the formation of innovative, critical, and creative approaches to professional practice. Effective integration of painting into design education significantly improves specialist training quality and strengthens their competitiveness in the labor market.

THEMATIC COMPOSITIONS IN MONUMENTAL PAINTING: THE CONNECTION BETWEEN INTERIOR AND EXTERIOR

Stella MUNTIAN — 2025-11-07

In this article, we have examined monumental painting as one of the oldest and most expressive forms of visual art, which plays an important role in shaping the artistic space. It blends harmoniously with architecture and has not only an aesthetic but also a meaningful function, conveying certain ideas, symbols and cultural codes. Unlike easel painting, monumental works do not exist separately – they are integrated into the interior or exterior of buildings and public spaces, enriching their atmosphere and identity. From the cave paintings of primitive people to modern frescoes, this art form has always been a means of communication, telling about the events, beliefs and worldviews of different eras.The purpose of this article is to study the role of thematic compositions in monumental painting and their relationship with the interior and exterior. Methodology. The study is based on a comprehensive analysis of theoretical and art history sources, which involves the use of a systematic approach to processing, comparing and synthesising the material.The historical and cultural method made it possible to consider the emergence and development of monumental art as a holistic, multifaceted phenomenon. The works of monumental art were analysed using the formal and stylistic method. Scientific novelty. The features of the use of thematic composition in monumental painting from ancient times to the present day were studied. The features of working on the composition for a monumental work were also examined.The connection between monumental art and architecture is analysed. Conclusions. Monumental painting shapes space and preserves cultural traditions. Successful integration of a monumental work into architectural space can create aesthetic and functional significance. Monumental works are an integral part of cultural heritage, reflecting social values and artistic traditions. The technical aspects of creating monumental compositions cover a wide range of traditional and innovative approaches, allowing artists to create durable and expressive works of art. The connection between monumental works and interiors and exteriors has been revealed, taking into account the scale of buildings, lighting features, and the historical and cultural context.

FEATURES OF THE IMAGE OF ARCHITECTURAL OBJECTS IN AN EDUCATIONAL STUDY

Oleksandra PANFILOVA — 2025-11-07

The article explores the features of performing sketches of architectural objects as an important stage of an artist’s professional training and a means of creative self-expression, focusing on the advantage of plein air practice over work in a studio. The role of sketch practice in the formation of observation skills, analytical thinking, and the ability to see and convey the characteristic features of architecture is considered. The basic principles of composition construction are analyzed, in particular the regularities of perspective transfer, proportionality, constructive logic of the object and its relationship with the surrounding space. Basic practical recommendations have been formulated and typical mistakes made by beginners have been identified.The objekt of the article is to determine the methodological features of depicting architectural objects in an educational sketch.Methodological approaches and research methods were based on the methods of theoretical and comparative analysis, synthesis, and observation.The scientific novelty of the study lies in the generalization and systematization of the features of the depiction of architectural forms during the execution of graphic and pictorial sketches, taking into account modern requirements for art education.Conclusions. Methodological features of performing sketches of architectural forms in painting and drawing form a complex of practical skills of the artist, develop spatial thinking, and contribute to increasing the level of professional training. It is regular work in the open air that contributes to the acquisition of skills and abilities in depicting architecture and competent compositional solutions. Also, outdoor classes effectively promote eye and hand coordination, develop visual thinking and figurative memory. Depicting architectural objects from nature creates conditions for the development of a holistic vision of the overall color tone and simultaneous comparison of contrasts in the sketch with nature, ensures the formation of a sense of tonal and color relationships, fosters in students an understanding of the transmission of the air environment, and forms and polishes the aesthetic taste of future artists.

SYNTHESIS OF ART FORMS AND GENRES IN THE UNIFIED INTERIOR SPACE OF THE BOUTIQUE HOTEL “FREDERICK COCLEN” IN ODESA

Nataliia PAKHOMOVA-VLASOVA — 2025-11-07

The article examines in detail the interior decoration of the boutique hotel “Frederick Coclen” in Odesa, namely three frescoes made using egg tempera technique, depicting European landscapes and a stained-glasswindow on the theme of medieval Europe. The purpose of the article is to explore contemporary monumental painting in the interior of the Frederick Coclen Hotel in Odesa; to analyse the relationship between art and architecture, the placement of wall paintings in a closed environment and the characteristics of their creation. Methodology. The article uses a comprehensive art history approach, which involves the use of a systematic method for processing the material. The historical and cultural method made it possible to examine monumental wall paintings in the context of European art and architecture of the 18th-19th centuries. The figurative-stylistic method allows for a comprehensive art history analysis of the interior decoration of the boutique hotel “Frederic Coclen” in Odesa, revealing stylistic features, determining the range of themes and the nature of formal solutions. The scientific novelty of the article lies in the fact that, to date, the topic of contemporary monumental art in Odesa remains under-researched. This is especially true for the interior decoration of modern public buildings (hotels). Conclusions. The boutique hotel “Frederick Coclen” in Odesa is a unique combination of a historic 19th-century building and modern monumental art. It is a synthesis of architecture and art that works wonderfully. The hotel exemplifies the harmonious collaboration between architects and artists, starting with the successful restoration of the historic building, as well as the preservation and display of new works by contemporary artists. All the works of art displayed in the hotel interior, both small easel paintings and monumental ones, create a psychologically positive atmosphere of warmth, beauty and cultural heritage of Odesa’s European past.

TRYPILLYA STORAGE CERAMICS AS AN AESTHETIC RESOURCE FOR FORM-BUILDING IN MODERN DESIGN

Ivan PUZENKO — 2025-11-07

In the period of rapid development of technologies and design creativity, the study of cultural aspects of archaic experience does not lose its relevance. For example, Trypillian ceramics as one of the most expressive carriers of the material and sacred culture of ancient Ukraine. The article analyzes the technology of forming and decorating ceramic products of Trypillian, in particular container products, in the context of their aesthetic and artistic value. The purpose of the work is to draw the attention of a wide range of artists to the powerful potential of Trypillian container ceramics as a source of inspiration in the formation of modern design. The authors trace the connection between archaic forms, the features of their manufacture and modern trends in design. The methodology is based on an interdisciplinary approach that combines elements of art history, ethnography and design. The main method is a comprehensive analysis of literary sources (art historical works, scientific articles and monographs), the comparative-analytical method is also used. The scientific novelty lies in the identification of new directions for the application of the rich heritage of the Trypillya culture: from object to interior design. The work focuses on the possibilities of using Trypillya artistic and aesthetic finds in the formation of modern design, which is important in the context of the development of the national component. Information about Trypillya container ceramics is also collected, which attracts the attention of researchers with its production technology, artistic language, preservation of ancient decorative means and elements of ornament, disclosure of the features of the structure and the surrounding environment of that time. Conclusions. Thanks to the processed information sources and available eyewitness materials of the Trypillya-Kukuten culture, the work draws attention to the main features of the form-forming and aesthetic principles of the manufacture of container ceramics of the Trypillya period.