Huang Ji’s Instrumental Body of Work: at the Origins of the Development of the National Music Culture of the Twentieth Century

Our country has a long history and is a multi-ethnic country, so our national art is rich and colorful. The national art of our country includes not only Chinese characters and literature and calligraphy art formed by relying on Chinese characters, but also folk music, dance, painting, sculpture, paper-cut, shadow, embroidery, dyeing and weaving, paste art and so on. In these national art, there are many separate art categories, which are combined into new art forms in the historical development. Due to the continuous progress of society and the continuous development of computer digital media technology, the popularity of smart phones, Weibo, WeChat has become an indispensable communication platform in life, minority art activities have been paid more and more attention. Because of its own unique cultural identity, in the process of cultural transmission, it is necessary to set up a corresponding stage through other intermediaries in order to achieve better communication, which is also very helpful to the inheritance of minority art. The main media of minority art is television. Television can use its media resources to attract groups interested in minority art and expand the size of this group, thus expanding the ways and means of inheriting minority art. It plays a very important role in promoting the continuous progress of minority culture and enriching the types of culture and art in China. The use of modern media to spread minority art, the key needs the state and government to attach importance to national culture, the use of government power to attract the attention of the whole people. National development should not only develop economy, but also develop culture and build spiritual civilization. National culture is the foundation of spiritual civilization, and the development of national culture is the foundation of strong national strength and the main means to improve national confidence. Only by combining the construction of spiritual civilization with the purification of the network and the promotion of national culture, and realizing the integration of modern media and the dissemination of national culture and art, can the quality of the whole people be improved in essence.

The purpose of the article is to trace the scientific and theoretical basis of the study of the performing arts of the American singer of Ukrainian origin Kvitka Cisyk. The research methodology is based on a comprehensive analysis of scientific literature and sources in this topic, which helps to form a holistic view of the state of scientific development of the problem of Kvitka Cisyk’s performing art. The scientific novelty lies in the holistic substantiation of the scientific and theoretical foundations of the study of Kvitka Cisyk's performing art. Conclusions. Having analysed the scientific and theoretical foundations of the study, the author can state the lack of scientific research on the artistic nature of Kvitka Cisyk's performing work and her special role in Ukrainian musical culture. It has been established that scientific publications in this area are insufficient, therefore, only a few publications by researchers cover certain aspects of her biography, descriptively consider the singer's repertoire focus, sometimes touching upon the problems of the stylistic and genre palette of vocal works, architectonics and specifics of their performance. The source base of the study provides sufficient material for a scientific analysis of the creative figure of Kvitka Cisyk. The representation of Ukrainian song in the process of the singer's performance appears as a way of national self-identification, preservation, and popularisation of national art in a non-ethnic environment. All this actualises the need for a thorough study of the performing creativity of the outstanding American singer of Ukrainian origin Kvitka Cisyk, in the development of national musical culture and art. Key words: Kvitka Cisyk, vocal performance, national art, creativity, Ukrainian song.

Chinese nation has a long history and profound traditional culture. After thousands of years of inheritance and development, it forms distinctive ethnic characteristics of traditional culture. Music culture is an important part of national traditional culture. In recent years, music teaching has caused more and more attention in society. We have to inherit and develop national culture in music teaching, and attach great importance to national music teaching. This paper introduces the importance of the inheritance and development of national culture in music teaching, and proposes to inherit and develop national culture strategy in music teaching. Every nation in the world loves its own national culture. For a nation, national culture is the spiritual pillar. National culture has a comprehensive impact on people, influencing people's thoughts and people's behavior, etc. By influencing people's way of thinking and behavior, it also seeks to promote the comprehensive development of society. Chinese nation has a long history and profound traditional culture. After thousands of years of inheritance and development, we formed distinctive ethnic characteristics of traditional culture. Traditional culture is our precious spiritual wealth of Chinese nation, which affects every Chinese child, and is an important symbol of our long history. National culture has rich content, not only including literature and art, but philosophy, religion. National music and ethics are also included in this aspect. National culture need to be inherited and developed from generation to generation. In the new era, education workers undertake an important responsibility of inheriting and developing national culture. In every subject teaching, we should attach great importance to the penetration of national culture and education. In recent years, music teaching has caused more and more attention in society. We have to inherit and develop national culture in music teaching, and attach great importance to national music teaching. Folk music is an important part of our national culture and expression form. National music is produced in the folk, which embodies national spirit and national culture with rich content, including folk opera, folk musical instruments, etc. In music teaching, we should pay attention to national music teaching, which is to inherit and develop national culture and cultivate students' sense of national pride and national spirit. I. THE IMPORTANCE OF NATIONAL CULTURE INHERITANCE AND DEVELOPMENT IN MUSIC TEACHING Music teaching is closely connected with national culture, and the two complement each other. Music culture is an important part of national culture. Music education is a form of music culture, and music culture will react on music education to make music education have more cultural connotation. With the development of the Times, music education also should keep pace with the Times. Leaving traditional music, music education will be a madrassa, and cannot have achieved a good development. At the same time, in music education, we shou ld critically inherit traditional music culture, and promote music education's healthy development. National culture inheritance and development, and attachment of importance to national music teaching are of great significance for music teaching. The importance of music teaching inheritance and development of national culture mainly displays in several aspects.

The purpose of the study is to reconsider the “strict style” beyond the narrative of the “Soviet art” and to identify those characteristics that allowed individual artists from Ukraine, Estonia, Latvia, and Armenia to return to the national artistic tradition and find their own creative language that did not coincide with the values of the totalitarian system. The research methods are based on the fundamental principles of art historical analysis with the involvement of interdisciplinary connections (philosophy, history) to identify the innovative features of the “strict style” as the first important step for the emergence of the art of the “dissenters”. The comparative method is used to identify the differences in regional manifestations of the “strict style” based on the national artistic traditions of Ukraine, Estonia, Latvia, and Armenia. The systematic-analytical method is used to highlight the influence of the Khrushchev Thaw on the formation of new worldview values among the creative youth of the post-war period of the 1946s-1955s. The scientific novelty of the study is to identify the plot, plastic, and compositional characteristics of the “strict style” that became the reason for some national artists to search for national artistic traditions and interpret them using their own experience and artistic and figurative language. Conclusions. When comprehending the significance of the “strict style”, one should note its importance for the beginnings of the revival of Ukraine's artistic traditions, which soon led to the emergence of “unofficial” art. While its founders, Russian artists, sought to convey the feat of labour of the Soviet man, our individual artists were able to demonstrate the difficult fates and tragedies of their own people (I.-V. Zadorozhnyi), moreover, using the techniques and imagery of avant-garde artists in their artistic language. The national artistic experience of the 1920s and early 1930s prompted them to revive and rethink their own heritage. The subjects, techniques of transmission, and compositional features were similar among the representatives of the “strict style”, but the peculiar artistic thinking based on the worldview of their people made some national artists, as well as their colleagues from Estonia, Latvia, and Armenia, interpret the reality of their countrymen differently.

In Australia, some Aboriginal art objects are celebrated as fine art of great cultural, aesthetic and economic value, while the vast majority are judged to be stylistically derivative and intrinsically compromised by overtly mercenary market forces. This article introduces the concept ‘Aboriginal mass culture’ as a means for understanding the significance of the often maligned forms of the Aboriginal art and culture industry in Australia and to address the problem of why it continues to be difficult to demarcate the space of Aboriginal fine art. While a canonical and connoisseurial art history approach must disavow the vast majority of ‘Aboriginal art’, this article embraces a sociological perspective and turns an analytical eye upon the Aboriginal art and culture industry in its entirety, treating it as a phenomenon of visual culture that mediates Indigenous/non-indigenous relations within national public culture. It offers a critical history of ‘Aboriginal mass culture’ from the market for ‘Aboriginalia’ in the post-Second World War era through to the unruly Aboriginal art market of the present day. In so doing, it illuminates some of the drivers of these cultural forms across commercial, governmental and civil society domains. Its analysis reveals the way in which ‘Aboriginal mass culture’ manifests the unique social and economic circumstances that underpin Aboriginal art practices and the ways in which Aboriginal art is entangled with a redemptive political and civic project in Australia that has sought to affirm a resilient Indigenous presence and stimulate new visions of nationhood, heritage and intercultural fellowship.

Archive fund of the composer Mark Karminsky

The purpose of the article is the conceptualization and rethinking of the meaning of Ukrainian children's folklore as an integral part of the structure of Ukrainian folk art culture and carefully crafted magic rituals. Updating the concept «Ukrainian children's folklore» in the context of cultural knowledge, defining the essence of this phenomenon in the chronotope of the 21st century and evaluating temporal and spatial unity, which contributes to the preservation of the national cultural heritage, the dialogue of different cultures and human unity, is also the goal of the work. The delineation of the essence of this phenomenon in the chronotope of the XXI century and the assessment of temporal-spatial unity, which contributes to the preservation of the national cultural heritage and dialogue of different cultures, is also the goal and object of analysis. The methodology consists in applying comparative and concrete-historical methods for conceptualization of Ukrainian children's folklore in the context of national folk art culture, use of formal method, as well as hermeneutic interpretation method for analysis of the concept of «children's folklore» and its functions in today's chronotope. The scientific novelty lies in the actualization and conceptualization in the context of culturological knowledge of Ukrainian folklore, including children's (riddles), as a complex phenomenon and an integral part of the morphology and typology of national folk art culture in the chronotope of the XXI century. Scientific novelty also consists in revealing on the basis of delineation and comprehension of essence, dynamics of laws of development and an estimation of internal structure and space-time unity of functions of the Ukrainian national art culture, consideration of interaction of oral folk art of the childhood and dialogue of various cultures. Conclusions. In modern socio-cultural reality the question of understanding the chronotope of Ukrainian folk art culture as a dialectical unity of traditional and innovative models of life in space and time and conceptualization of Ukrainian children's folklore (riddles) in the context of culturological knowledge as an integral part of morphology and typology of national folk art culture. Ukrainian children's folklore in its diversity of forms, types, functions, purposes is an attractive phenomenon that requires further conceptualization and continuation of thorough research. Defining the essence of this phenomenon in the chronotope of national folk culture contributes to the preservation of national cultural heritage and dialogue of different cultures in the XXI century. Keywords: Ukrainian folk art culture, folklore, children’s folklore, riddles, musical folklore, dialogue of cultures, oral folk art, national culture, chronotope, space-time interrelations.

National Art and Culture in Poland before the First World War A Review of: Adrianna Dominika Sznapik, 'Otoczyć naród swój pięknem…' Dyskusja wokół ideo kultury i sztuki narodowej na ziemiach polskich na przełomie XIX i XX wieku na tle prądów europejskich ['To surround the nation with beauty...' Discussion around the idea of national culture and art in the Polish lands of the turn of the 19th century in the context of European tendencies]. Warsaw: Institute of Art History of the Polish Academy of Sciences, 2021. 486 pp. ISBN 978-83-66911

Zhu Jian’er’s life creativity: the historiography of the composer’s personality

The purpose of the article is to give a review of the current environment of management and the development of culture and arts in the system of cultural and creative industries in Ukraine. The methodology of research is the application of the descriptive method and definitive analysis, functional analysis, formal characterization in the process of research regarding the national field of management and development of culture and arts segment in Ukraine. The scientific novelty is the analysis of the institutional field of national development of culture and arts in Ukraine. The scientific novelty is an analysis of the institutional field of development of national culture and art in the aspects of public administration, institutions of higher education (HEI) in the indicated areas, and government mass media channels. Conclusions: Effective organization of national management of institutional field development of national forms of cultural and art interaction – that is the Ukrainian cultural need in the process of its civilizational development. The main aspects of development and support of culture and arts from the government institutions side, in our opinion, are coordination of means of the government management system in the cultural and arts industry, institutions of higher education in culture and arts industries, and mass media broadcasting channels, which are owned by the government. National artistic, cultural-and-artistic, artistic-and-technological, scientific, educational, cultural and intellectual-and-creative capable part of a human capital asset (involved in the systems of the national arts and creative production, including government management organizations in the field of cultural and creative industries) must support the organization of national arts and cultural platforms of interaction based on communicative cooperation of groups of arts and cultural production, as well as comprehensive rebroadcasting of the best-produced products by unions of arts and cultural production by informative, mass media, arts, educational governmental means (tangible and intangible). The country should unite the efforts of specialists in this sector in the field of institutional communication of cultural-and-arts interaction, should support the formation of bases for the practical production of the national arts and cultural production of all branches of the sector of cultural and creative industries of Ukraine.

The relevance of studying the works of Petro Potapenko, one of the leading representatives of the Ukrainian music culture of the XX century, is conditioned by the general focus of the modern humanitaristics on the creative activity of emigrants and the efforts to return their artistic heritage to the national listener.
 The purpose of this paper is to define the special features of Petro Potapenko’s works in the context of development of the Ukrainian music culture of the XX century in diaspora.
 The research is carried out using a set of interdisciplinary methods, including, inter alia, a method of historical reconstruction which helps reproduce the mentality and reality of that time based on fragmentary data; biographical method — for the interpretation of facts from Petro Potapenko’s life; methods of sociological research that allow to view music and performance art in interaction with social practices etc.
 The results. We have studied the personal and artistic path of Petro Potapenko, Ukrainian bandurist, composer, choir conductor, member and art director of Taras Shevchenko Bandurist Chorus (1950–1964), founder of the first female bandurist ensemble in the Western diaspora called Girls’ Bandura Chorus of the Ukrainian Youth Association (1956).
 Over the years of its existence (1950s–1980s), the Girls’ Bandura Chorus led by Petro Potapenko gave 59 independent concerts and 82 performances in the largest Ukrainian communities in the USA and Canada. The most prominent of them is the 1964 concert that commemorated the unveiling ceremony of Taras Shevchenko’s monument (Washington).
 During many decades, bandurist ensembles conducted by Petro Potapenko had been powerful centers of Ukrainian bandura art, promoting the national music culture by giving concerts, holding topical events and performing with a Shevchenko program as well as publishing gramophonic records and albums.
 The topicality. We have tried to characterize the influence of the social and cultural space and cultural and artistic environment on the formation of Petro Potapenko’s creative personality.
 The practical research. We have analyzed the historical and cultural aspects of the artist’s works in the context of the abovementioned ensembles and provided academic circles with poorly known biographical facts. We have defined Petro Potapenko’s contribution to the development of the Ukrainian music culture and bandura art in the US diaspora as well as the meaning of his activity to the Ukrainian culture of the XX century on the whole.

Introduction. The article examines the origins of Taiwanese piano art, its evolution, the influence of national and numerous non-national musical traditions. Until today, no special study devoted to the general panorama of these important processes has been created. The general picture of the formation and development of Taiwanese musical culture in the context of the political, economic and social situation is considered. The purpose of the article is to highlight the origins of Taiwanese piano art, which influenced its evolution, the process of introducing national and numerous non-national elements at the main stages of its formation and development. With the help of analytical, historical, comparative, interdisciplinary methods of research, a number of tasks are solved: the role of Western Christian missionaries in the development of musical education and piano art on the island is determined, the reasons why the Western classical music was accepted by the local society, the questions about the founders of the system of Western of classical music education, the programs and forms of learning in the first music schools in Taiwan, the names of the first Taiwanese composers-pianists are clarified; а periodization of the development of piano art in Taiwan is proposed. Results. The most important historical stages of the formation and development of Taiwanese piano art can be considered: – the period of its creation from the end of the 16th century to 1894; – the period of Japanese colonial rule from 1895 to 1945; – the period of development of national self-awareness, 1946–1986; – the period of reunification with mainland China from 1987. The proposed periodization makes it possible to reveal the entire historical and cultural context of the existence of piano art in Taiwan, to project its genetic settings for further stages of its development. Its basis was national folklore, but since the middle of the 16th century, the island was visited by Spanish, Portuguese, Dutch and Canadian colonists, and the first contacts of Western music with the indigenous population of Taiwan were made thanks to the activities of Western missionaries and were subordinated mainly to religious purposes. The stage of Japanese colonial rule was important for the development of piano art on the island. Due to the influence of Japan, Taiwanese musicians had further opportunities to join the system of Western classical music education, as the Japanese government was helping Taiwanese youth to obtain it. After 1920, Western classical music becomes popular in Taiwan; the formation of composer creativity in the field of piano music also takes place – the activities of such Taiwanese composers and pianists as Chiang Wen-Yeh, Chen Sizhi, Kuo Chih-Yuan, Kao Tzu-Mei and others. In the years 1946–1986, we observe the further development of performing and teaching activities at the island, a bright burst of creativity by such composers as Chang-Hui Hsu, Hsiao Tyzen, Shui-Long Ma and others. After 1987, active musical contacts between China and Taiwan contribute to the further progress of the island’s piano art. The piano works of Taiwanese composers Shih-Hui Chen, Fan-Ling Su, Chien-Yu Huang and others are widely popularized. In recent decades, the performing activities of Taiwanese pianists, represented in the international space by the names of Chien-Yu Huang, Yi Chih Lu, Chiu Tze Lin and many others, have become very active. Today, the piano art of Taiwan is the most important part of not only Chinese, but also world music culture. Conclusions. The study of the origins of the piano art of Taiwan, the periods of its development, ways of refracting different musical traditions will help to understand both the historical-theoretical and aesthetic-pedagogical and artistic significance of this phenomenon in musical art. The most important events in the social and cultural life of Taiwan, since the end of the 16th century, indirectly affected the development of national piano art, which underwent qualitative changes connected with the emergence of new musical forms and means of expression, the methods of using the national and Western compositional techniques. The prospect of further study of the topic consists in a more detailed study of the modern stage of developing piano art in Taiwan and clarifying the influence of its extensive genetic roots on the compositional and performing creativity of representatives of Taiwanese musical culture.

Culture and art are important spheres that determine the dynamics and trends in the daily life of the population. The article examines the issues of cultural development and its role in the daily life of the villagers of Central Kazakhstan in 1964–1985. The study is based on archival documents (materials from Russian archives — RGASPI and GARFA, Kazakh archives — Central State Administration of the Republic of Kazakhstan) and interview materials conducted by the authors with Kazakh villagers of Karkaraly, Egyndybulak, and other districts of the region. The study of the specifics of the development of culture and the holding of cultural events/projects in Kazakh rural areas allows us to conclude that participation in them was massive. The events held did not set a task and were not used to revive the national spirit, but played an institutional role as an ideological tool of the state in promoting communist ideas. As a result of the study, achievements and shortcomings of development in rural cultural everyday life were identified, the position and place of national culture and art in rural everyday life of the region were determined. In conclusion, in the studied decades in rural areas, the development of Soviet culture was active, but there were certain difficulties and obstacles to the development of Kazakh national culture and art.

The aim of the article is a generalized description of the creative activity of Isaac Yakovlevich Berkovich, a Ukrainian composer and lecturer as well as its impact on the development of piano pedagogy for children. The research methodology is based on an interdisciplinary approach, which expresses the integration of culturological, art history, special-historical, etc., principles and methods; the main principles that determine the author's approach are: 1. the principle of objectivity (from his standpoint, facts from the life and work of the musician (artist) indicate his contribution to the development of culture, music, and pedagogy); 2. the principle of historicity allowed to recreate a real picture of the life and work of I. Berkovich; 3. the principle of comprehensiveness and complexity has taken into account various factors and reasons that allow to comprehensively characterize the contribution of this musician (artist) to the historical and cultural music and pedagogical heritage of Ukrainian culture, considered in the diachronic historical and cultural aspect. The leading role in the presentation of the material is played by the activity-structural method, which allows investigating in detail the creative personality of the pianist-composer-teacher; the method of cultural-historical analysis made it possible to retrospectively highlight the importance of Isaac Berkovych's work in the development of Ukrainian musical and pedagogical culture; methods of biography, source studies, chronological, etc., the method of interviews, implemented as a retrospective analysis of the life and work of a prominent figure of national culture. The scientific novelty of the study is based on the initial use of various sources (archival, interviewing, etc.), which are purely authorial in the context of increasing attention to the importance of the creative work of Isaac Berkovich, Ukrainian composer and teacher, primarily in connection with celebrating the 120th anniversary of the birth of the artist and teacher. The conclusions reflect the contribution of I. Berkovych's personality to the development of Ukrainian music-pedagogical culture, considered both in retrospect and in the light of projective opportunities for the development of national music culture (especially in the music-pedagogical segment) in modern conditions; emphasize the latest nature of the various types of sources used, which allow to fully highlight the creative work of the artist and the author's experience of communicating with his colleagues and students.
 Key words: creative activity of Isaac Yakovlevich Berkovich, music, music culture, age pedagogy, history of the music culture of Ukraine

This paper’s goal is to understand North Korea’s present-day nationalism in part by showing how North Korea regarded the “nation”(minjok) and “culture” through the changes in its concept of “national culture”(minjok munhwa). North Korean nationalism grew stronger amid international variables such as competition with South Korea, a sense of crisis and opposition towards the US, differentiation from arising China post-Cold War, and Third World solidarity. Although early on North Korea strongly viewed the “nation” and nationalism negatively and aimed for an anti-chauvinist “national culture,” it later broke with the Stalinist concept of “nation” emphasizing economic community, transitioning to a concept of “nation” which valued blood ties and culture and emphasizing this concretely with the expression “national culture.” This latter concept was divided into “national cultural heritages”(minjok munhwa yusan) and “national cultural arts”(minjok munhwa yesul) since the founding of the North Korean regime. That is, national cultural heritages of the past were to be well preserved and passed on to create national cultural arts, and exceptional national cultural arts were to become great national cultural heritages in the future. The political struggles in the late 1950s and 1960s also constituted a battle of concepts surrounding “national culture,” where in various revolutionary traditions were renounced and Kim Il-Sung’s anti-Japanese resistance experience privileged over the others. With Kim’s sole leadership over North Korea fully established in 1967, national nihilism and reactionarism were strongly criticized during the theorization of “national culture” until the 1970s. The holding of many international events in Pyeongyang during the 1970s and 1980s was the result of North Korea’s self-awareness and pride in taking a leading role in Third World solidarity. Domestic and foreign crises and the country’s solitary hard line stance in the aftermath of the Cold War solidified North Korean nationalism, and concepts such as the “Chosun people first ideology” and the “people of Kim Ilsung,” and “Taedonggang culture” were produced as strategies to unify the regime in this atmosphere. In sum, the term “national culture” was an affective mechanism to preserve and unite the country in the face of national crises as well as a bastion of its self-esteem demonstrating the country’s existence.