Elite Art Research Articles

American Slavery and Russian Serfdom in the Post-Emancipation Imagination

American Slavery and Russian Serfdom in the Post-Emancipation Imagination

Ukrainian art since the early 2000s: the "second revival" in the world’s cultural field

The purpose of the article is to determine the place of Ukrainian art during the active transformations of the world art space. The scientific novelty lies in the study of the world's leading art fairs and the participation of Ukrainian artists in these platforms of the art market, as well as the analysis of modern leading Ukrainian art fairs and festivals. Methodology. The main methodological approach in determining the place of Ukrainian art during the active transformations of the world art space is the structural-system approach, and when analyzing the activities of leading Ukrainian art fairs in the context of world art development - the contextual method. The applied methods allowed to determine the main vectors of development of the private art segment of Ukrainian art of the 1990s - 2020s. Conclusions. In recent years, a new global art space has been formed and developed in the art world. Traditionally, the Western world dictates the rules of world art, but the exotic nature of everything that comes from the North and Eastis of interest to art lovers and professionals. Renewal of the cultural and artistic process in Ukraine at the beginning of the XXI century. and powerful social changes became the basis for many art festivals and art fairs of both regional and national scale. Initiatives of independent curators and gallerists' search for new formats for demonstrating the artistic achievements of Ukrainian artists have inspired the emergence of a number of interdisciplinary cultural projects of national importance. These artistic events set the vector for the development of communication in the modern cultural sphere. In general, Ukrainian art is developing several parallel coordinate systems that operate on different principles and offer different agendas. Among the latest trends that determine its development - digitalization, virtualization, commercialization, blurring the boundaries between elite and mass art, loss of integrity, polystylistic aspect, exemption from any rules of regulation. Like world cultural projects, Ukrainian festivals and art fairs are a type of artistic form of actualization of contemporary art and its interaction with society. For example, Kyiv Art Week is a landmark event in the cultural space of Ukraine, which brings together influential artists, collectors, and representatives of many worlds and Ukrainian cultural institutions.

12. Managing the Changes in the 21st Century Performing Art. Methods of Eliminating Social Barriers in the Consumption of Classical Music Performances

Abstract In the unfortunate circumstances of the current declining consume of classical music, the intention to facilitate the access of the young, uneducated audience to classical music is becoming increasingly visible in the practices of the local, national and international cultural operators. Identifying the optimal methods around which unconventional, innovating artistic events can develop is essential in order to shape the audience of the future. The consumer needs to be educated progressively in order to accept what some call “elite art”. The mediation of the education process must be initiated from a point that places the audience in a comfortable position, even though this may, on the other hand, represent a compromise for the artists. From this perspective, the classical artistic product must become flexible, must outgrow patterns as well as traditional social constraints and adapt in order to be closer to the community. The research relies on a survey involving a sample group of 571 people, study aimed to measure the individuals’ propensity to consume symphonic music, opera and classical ballet. The mission consisted in highlighting the reasons that cause consumers to move away from classical music as well as searching for solutions to lure them and win their loyalty, in order to be transformed into an educated audience capable of understanding and processing artistic emotions.

Derzhavnyi teror u zakhidnoukrainskykh zemliakh yak metod vstanovlennia radianskoi vlady

The course of historical events is studied with regard to the reunification of Western Ukraine with Soviet Ukraine. The formation of the foundations of the new state-political and territorial system with the formation of new regions of Western Ukraine is shown. The characteristics of the most important regulations on the formation of law enforcement agencies of the Soviet government and their repressive actions on the territory of the region are given. The first repressive actions were directed against the Polish servicemen and the members of counter-revolutionary, espionage organizations, the former landowners, the manufacturers, the Polish officers, the officials, and the defectors, who were at the prisons in the western regions of Ukraine. The activities of Ukrainian political parties were banned. The activity of «Prosvita», Taras Shevchenko Scientific Society was stopped and the work of cultural and educational institutions, theaters, philharmonics, museums was reorganized. The policy of forced collectivization, nationalization of the industrial enterprises, the banks was tracked on the basis of the research materials. There were four waves of deportations during the 1939–1940 years, when not only the Polish settlers and Polish civil servants of local self-government but also a group of Ukrainian foresters, members of public, political, nationalist organizations, entrepreneurs, merchants, wealthy peasants were deported. The priests of various denominations, members of the OUN underground did not escape deportation and repression. It is stated that the victorious conclusion of the war with Germany promoted realization of administrative measures to restore the Soviet power in the western Ukrainian lands. The edge of mass repression is directed against the Ukrainian bourgeois nationalists. The mass inspections were introduced under the guise of registration and population censuses. The repressive politics aims to fight the Greek Catholic clergy of the region. Strengthening the struggle against politically unreliable intelligentsia, students, Western Ukrainian literary and artistic elite, and members of Lviv organization of the Union of Soviet Writers of Ukraine is substantiated. Repressive bodies had a special attention to the assessment of the political views of the scientific and pedagogical workers of Lviv universities and the pupils of M. Hrushevskyi.

Du salon au boulevard. Un aspect de la mélodie française entre 1870 et 1930

While the Germanic Lied draws its roots from popular tradition and evolves towards the Kunstlied, French melody, born in refinement, reflects a lighter vein at the turn of the 20th century.In the post-war context after 1870, French music seeks an authentically nationalist aesthetic, free of Germanic influence. The nature of melody becomes an important area of exploration and research for composers. Inspired by romantic poetry but also by the literary movements of the late 19th century – Parnassianism and Symbolism – the genre appeals to an intellectual and artistic elite. Melody thus flourishes in concerts and in private Parisian salons.The historic and social context gives rise to a whole repertoire of political and nationalist songs that contain an element of banter or gouaille. Attracted by the songs of cabaret or boulevard, some composers, seeking to break out of the narrow confines of ‘salon’ melody propose a new direction for the genre.Melodies explore the humorous ironic, light-hearted or vulgar domains, occasionally verging on the sensual or bawdy. These works set to music unpretentious texts, occasionally written by the composers themselves.Among the composers of the ‘erudite tradition’ who are attracted by this light-hearted and popular vein, the most notable are Chabrier, Satie, Hahn and Poulenc, while several others adopt this trend more intermittently. The nature of the texts, the venues where they are performed and the popularity of the singers contribute to this renaissance of the melody genre.This article therefore evokes a little-known aspect of the development of melody in France after 1870.

Emilia Pardo Bazán, una intelectual moderna, también de la Edad de Plata

El concepto de Edad de Plata requiere ser revisado para que se ajuste al proceso de transformación social femenino que se inició con la Revolución de 1868 y culminó en 1939. El uso restringido al siglo XX que se viene haciendo en el campo literario responde a esquemas y ritmos masculinos que excluyen a mujeres como Emilia Pardo Bazán. Desde una perspectiva microhistórica, observaremos cómo las estrategias de la escritora, como intelectual moderna, son testimonio de las vicisitudes que encontraron las mujeres para salir de los paradigmas tradicionales y conquistar un espacio propio entre las élites culturales y artísticas

УКРАЇНСЬКА АКАДЕМІЯ МИСТЕЦТВ: ІСТОРИЧНИЙ ПОСТУП (1917 – 1920)

The aim of the research is to reveal the preconditions, history of the opening and functioning of the Ukrainian Academy of Arts (hereinafter – UAA) – the first institution of higher art education in Ukraine in 1917 – 1920. The research methodology is based on the principles of historicism, objectivity in the assessment of historical events and phenomena, systematics and comprehensiveness, which together allowed to reveal the subject field of research. The scientific novelty of the article is that despite the presence of historical and artistic explorations about the UAA, its functioning during 1917 – 1920 is a relevant poorly studied subject of special complex historical and art studies. The general scientific significance of the study of the history of the UAA is in the reconstruction of the complete, holistic process of organization and activity of the UAA as the first artistic institution of higher education of the period of national and cultural revival of 1917 – 1921. A wide range of historiographical and source base of the researched problem by domestic and foreign scientists during 1917 – 2020 has been analysed. The role of the Ukrainian Central Council, the General Secretariat of Education, the artistic elite in the establishment and activity of the UAA has been characterised. The normative and legal bases of its organization by means of the analysis of statutory documents have been traced. The main directions of work of the first professors (M. Boichuk, M. Burachek, M. Zhuk, V. Krychevskyi, F. Krychevskyi, A. Manevych, O. Murashko, H. Narbut) and rectors of the UAA (F. Krychevskyi, O. Murashko, H. Narbut, M. Burachek,) have been determined. The information on the art exhibition of the first professors of the UAA, organized on the opening day of the Academy, December 5, 1917, has been given. The work on the creation of the National Art Gallery at the Academy has been indicated. It is claimed that almost the entire revolutionary period (1917 – 1921) has been marked for the UAA by difficulties of the organizational, material, educational and methodological nature, which negatively affected the course of the educational process. The Conclusions. It is concluded that despite the short academic status of the UAA (1917 – 1922), in the extremely difficult revolutionary, military and political, socio-economic conditions, the academy was formed as a leading centre of national and cultural revival in Ukraine, the centre for consolidation of artistic intelligentsia, it gained popularity among the general population and it gained prestige in the artistic environment of the European countries. The foundation for the development of the Ukrainian culture, laid on the initiative of the creative intelligentsia, continued to develop even in the chaos of the civil war and revolution. The UAA, which began its activities so brilliantly in 1917, was subsequently subjected to devastating blows from the Bolshevik political system. First of all, the most talented leading pedagogues felt distress. The financial insolvency of art schools forced their leaders to resort to self-financing through the organization of production workshops. Turbulent revolutionary events later led to destructive processes in the UAA. Key words: Ukrainian Academy of Arts; art institution of higher education; fine arts; national and cultural revival; Ukrainian revolution.

РАЗВИТИЕ И ТРАНСФОРМАЦИИ МАССОВОЙ КУЛЬТУРЫ

The article shows that the phenomenon of mass culture in its current understanding is proceeded by a period of formation. Having begun its transformation with various kinds of mass spectacles even before our era, mass culture only by the middle of the XX century took shape into a modern kind of cultural practice. It is stated that for a long period, mass and «high» art were in opposition, since their value principles contradicted each other. At the same time, there comes a period in the development of mass culture when it needed «fresh» blood for its effective impact on the mass consciousness in the future, and in this situation its interested parties turned their eyes to «high» art. The article suggests that this metamorphosis had a commercial background, but at the same time this transformation marked a new stage in the formation of the analyzed phenomenon. It is shown that having entered into interaction with «high» art, mass culture not only transforms itself, under its influence, but also in a peculiar way initiates changes in the elite art itself. Attention is fixed on the fact that themovement of mass culture resembles a kind of pendulum fluctuations, which are influenced by the system of values that have developed within the framework of the social structure, and the course of the socio-historical process. Depending on this, the use of mechanisms embedded in mass media and mass communication media can transform it into a phenomenon that manifests itself in various ways. This is shown in the article on the material of the use of mass culture as an educational tool at various stages of development: both during the USSR and during the coronavirus pandemic in the 20s of the XXI century, as well as on the material of the use of mass culture mechanisms on political technologies to manipulate public consciousness.

Alternativne umetničke prakse između moći države i granica slobode

Starting from Theodore Adorno's point of view that the sociability of art is shown through its anti-social character, the paper deals with a sociological analysis of alternative artistic practices and their social reach and boundaries. Associated with a very specific social context, with a clearly established deviation not only from the mainstream of the official, elite art (artistic formalism) but also from the dominant culture and prevailing social values, alternative artistic practices are considered in the context of critical cultural counter-public, which is positioned between the formal and the symbolic powers of the state, on the one hand, and the personal / creative and social freedom of the artist and recipients, on the other hand. In the first part of the paper, we are presented with a general review of the transformations as regards the spheres of artistic creation, reception, and evaluation, which started establishing themselves within Western societies as of the beginning of 20th century, as well as with questioning their most important social functions. Following the existing research and using secondary data sources, the paper continues with an analysis of the underground music scene and lifestyles of young people in Western societies, as well as of those that emerged under the influence of the spread of Western popular culture and art in authoritarian regimes of some Muslim countries in the Middle East, North Africa, and Southeast Asia. Although still sporadic, rather marginalized and regime-controlled, these alternative artistic practices contribute to trans-cultural communication and creative and value synergy, gradually undermining rigid social frameworks and belief systems within different societies (Western and Arab-Islamic) but also between them.

Общее и различное в творчестве черкесских художников Адыгеи и черкесов Турции [Similarities and Differences in the Creativity of Circassian Artists of Adygea and Turkey

Исследуется общее и различное в творчестве черкесских художников Адыгеи и черкесов Турции на основе анализа тематики и художественных образов; общественной функции мастеров живописи, проживающих в разных социокультурных условиях; цели их творчества; изучения приоритетных жанров и техник. Показаны амплуа российских живописцев как представителей художественной элиты этноса; направленность их творчества на сохранение мифопоэтических образов и этнической идентичности; а амплуа черкесских художников Турции как представителей страны проживания, основными целями которых становится показ их творчества на мировой арене. Различия в творческих целях объясняются разностью социокультурных условий становления художников и неодинаковыми условиями получения профессионального образования. Точки творческого пересечения находятся в плоскости этнических ценностей, знаков и символов, одинаково декодируемых черкесами метрополии и диаспоры; а также в плоскости оценки исторического прошлого, особенно Кавказской войны, в особо почитаемом отношении к природе и красотам Кавказа.

The limits of imperial influence: John James Audubon in British North America

For two decades, John James Audubon (1785–1851) travelled widely and frequently while working on his illustrated natural history volumes – still highly prized today for their aesthetic and scientific merit: Birds of America (1827–1838) and Viviparous Quadrupeds of North America (1846–1854). Neither independently wealthy nor employed as a salaried scientist, the artist-naturalist with a flair for marketing financed his projects by selling subscriptions. Successfully marketing Birds to members of the British aristocracy, as well as to organizations and to artistic and intellectual elites, Audubon was reluctant to take Quadrupeds to Britain even though sales there were key to the financial viability of his work. Instead, in 1842 Audubon travelled to Canada (now Ontario and Quebec), the most populous region of British North America. The colony was, he calculated, a viable source of subscribers; however, he was wrong. Moreover, having travelled to British North America previously, he should have expected modest returns. Nonetheless, he was optimistic that this expedition would succeed where those to New Brunswick (1832) and Labrador and Newfoundland (1833) had failed. This paper examines why success eluded Audubon in the colonies, arguing that entrepreneurialism buttressed by patronage – a winning strategy in Britain – failed because there was a vast difference between metropolis and hinterland when it came to supporting the arts and sciences.

ЕСТРАДОЗНАВСТВО – НАУКА ПРО ЕСТРАДНЕ МИСТЕЦТВО

У статті актуалізується проблема об’єктивно визначити місце сучасної естради в національному культурному просторі, в цьому контексті розбираються поняття «елітарне мистецтво» і «масова культура». Аналізується рівень присвячених заданій тематиці наукових розвідок представників академічного спрямування та дослідників естради. Порушуються питання специфічних рис естради, що знаходять відображення у її різножанровості і не мають місця в інших видах сценічного мистецтва. Пропонується легітимація у вітчизняному науковомуі поле поняття «естрадознавство» як напряму мистецтвознавства, що вивчає естрадне мистецтво, його особливості й загальні динамічні процеси, пов’язані з розвитком національного мистецтва естради, а також вказані концептуально-методологічні основи нової для України мистецької науки. Спираючись на праці дослідників естради, визначено та охарактеризовано сім базових засад естрадного мистецтва – відкритість, легкість, синтетичність, лаконізм, імпровізаційність, мобільність, індивідуальність. Відкритість естради ґрунтується на активному діалозі артиста з глядацьким залом; легкість окреслює специфіку сприйняття естрадного твору, що не потребує попередньої підготовки глядача; синтетичність обумовлює поєднання в естрадному номері елементів різних видів мистецтв; лаконізм передбачає високу концентрацію у творі як змістовності, так і засобів акторської виразності; імпровізаційність є креативною складовою сценічної поведінки артиста естради, його відкритістю на ту чи іншу реакцію публіки; мобільність передбачає здатність артиста до виконання сценічної діяльності за будь-яких умов (професійна мобільність) та оперативне реагування на запити суспільства (соціальна мобільність); індивідуальність артиста виявляється у постійному пошуку оригінальності, самобутності, індивідуальної виконавської манери, власного сценічного образу. Зазначено, що базові засади естрадного мистецтва є універсальними для усіх його видів та жанрів. Конкретизуються відмінності естрадного мистецтва і світової індустрії розваг (шоу-бізнесу), яка є складовою масової культури. Відзначається дефіцит українських спеціалістів-естрадознавців, зокрема фахівців з вокальної естради у освітньому процесі підготовки молодих естрадних артистів.
 Ключові слова: сучасна естрада, елітарне мистецтво, масова культура, специфіка, естрадознавство, критерії оцінювання, джаз.

Elites, communities and the limited benefits of mentorship in electronic music

While the emergence of success in creative professions, such as music, has been studied extensively, the link between individual success and collaboration is not yet fully uncovered. Here we aim to fill this gap by analyzing longitudinal data on the co-releasing and mentoring patterns of popular electronic music artists appearing in the annual Top 100 ranking of DJ Magazine. We find that while this ranking list of popularity publishes 100 names, only the top 20 is stable over time, showcasing a lock-in effect on the electronic music elite. Based on the temporal co-release network of top musicians, we extract a diverse community structure characterizing the electronic music industry. These groups of artists are temporally segregated, sequentially formed around leading musicians, and represent changes in musical genres. We show that a major driving force behind the formation of music communities is mentorship: around half of musicians entering the top 100 have been mentored by current leading figures before they entered the list. We also find that mentees are unlikely to break into the top 20, yet have much higher expected best ranks than those who were not mentored. This implies that mentorship helps rising talents, but becoming an all-time star requires more. Our results provide insights into the intertwined roles of success and collaboration in electronic music, highlighting the mechanisms shaping the formation and landscape of artistic elites in electronic music.

Zakopane i Tatry fin de siècle. Jan Kasprowicz – podróże artysty

The article discusses the process of increased interest in Zakopane and Podhale culture in the second half of the 19th century and at the beginning of the 20th century. Discusses the problem of highlanders acquiring national identity. Characterizes the environment of the intellectual and artistic elite of Zakopane. Attempts to analyse how fascination with the Tatra landscape and highlander culture influenced the formation of one of the myths that fund modern national identity. Tries to show how the artists influenced the development of Zakopane as a holiday spa. It also shows the impact of bohemia on the transformation of the culture of highlanders in the Podhale region. The second part of the article discusses the relationship of the poet Jan Kasprowicz with Podhale. His peregrinations to Zakopane and Poronin were presented. On the selected example from creativity, an attempt was made to analyse the poet’s fascination with the Tatra Mountains and highlander culture.

КУЛЬТУРНО-ПРОСВІТНИЦЬКА МІСІЯ МИХАЙЛА ВЕРБИЦЬКОГО В КОНТЕКСТІ НАЦІЄТВОРЕННЯ

The creative activity of Mykhailo Mykhailovych Verbytsky, as one of the brightest representatives of the national elite of the period of the Ukrainian cultural revival of the XIX century, was traced. The importance of the social-cultural mission of the artist, a priest of the Greek Catholic Church, a public figure, the founder of professional music in Galicia and the founder of the national school of composition in Ukraine was emphasized. A representative of the artistic elite, the famous composer M. Verbytsky was a model of professionalism in music and, very importantly, a bearer of national and cultural ideas. The article raises the question of the significance of the creation of the anthem song "Ukraine is not dead yet": the words of P. Chubynsky, the music of M. Verbytsky. The famous musicial composition, the words and melody of which united more than one generation, united Ukrainians around the world, influenced the formation of identity and awakened national consciousness. Working on the creation of a majestic song, the authors realized that the songs-hymns encode political levers, which reveal the potential for democratic development of the nation and the consolidation of citizens. After Ukraine gained independence, the text of the anthem was approved, with simultaneous editing, and in March 2003, the Verkhovna Rada of Ukraine adopted the Law "On the National Anthem of Ukraine" to the music of V. Verbytsky, P. Chubynsky's words "Ukraine is not dead yet, and Glory, and Will "– is one of the most important state symbols. Emphasis is placed on the fact that M. Verbytsky is the author of music for the National Anthem of Ukraine and his life choice, active social activity and creative work carried out a social-cultural mission. The talented composer, spiritual mentor, patriot M. Verbytsky realized the value of what he was doing, worked selflessly and sacrificially, promoting the position of self-affirmation of Ukrainians as free and self-sufficient people.

Theatre audience development as a social function of contemporary theatres

From the last decades of the previous century, the re-examination of the social functions of cultural institutions began - especially the institutions of elite art, to which the theatre belongs. In this regard, numerous researches are conducted focusing on the ?broader? social role of the theatre, as well as exploring the dynamics and quality of the relationship between theatre and its audience. Their outcomes are the recommendations of innovative strategic activities, by which the theatre can establish deeper relations with the existing and attract new audiences, i.e. more efficiently realize its cultural-emancipatory, social-inclusive, social-cohesive, educational, and other similar potentials. Extensive research of the functional type, which combines the analysis of the process of theatre production, distribution and reception, and sheds light on the ways in which theatre functions in the community, has not been conducted in Serbia so far. However, for many years, there have been conducted researches that provide sufficiently relevant answers, analysing this topic from individual aspects of the audience, marketing activities, cultural policy and theatre management. Their overall conclusion is that theatres in Serbia must (re)orient themselves to the external environment - (re)define their social mission and actively approach the process of diversification of the audience. However, the practical implementation of such recommendations is still lacking, theatre organizations find it difficult to adopt the idea that changes must be initiated by themselves, which brings us to the question of the attitudes on which these organizations establish their work. In this regard, the paper maps of and analyzes the opinions of managers and employees of Belgrade theatres on the topic of the role of theatre in the audience development and generation of the ?additional? social value, contextualizing the opinions in relation to the current circumstances, i. e. specific practices of these institutions. In conclusion, an original theoretical model of ?two-way adaptation of public city theatres? is developed, recognizing the importance of strategic action in culture both ?bottom-up? and ?top-down?, and proposing exact activities and approaches to theatre and cultural policy in the field of theater audience development.

Синергия слова и музыки как основа творческого метода работы З.П. Лодий с поэтическими текстами в камерных вокальных произведениях

The article is devoted to the synthesis of words and music in the performing arts of the chamber singer of the first half of the twentieth century, Zoya Petrovna Lodiy. Her skill was highly appreciated by the representatives of the artistic elite and caused enthusiastic responses from the general public. However, over time, not only the name of the singer was undeservedly forgotten, but the recordings of her performances became a real rarity and are not almost available for listening. Therefore, the only source for studying the work of the famous vocalist was the memoirs of contemporaries, the periodical press, the epistolary heritage, as well as various archival materials that make it possible to form a certain idea about Z. P. Lodiy’s mastery in artistic and expressive means of singing, due to the singer’s deep and multifaceted attitude to the word. An analysis of the artist’s creative heritage made it possible to identify the key principles of her creative method of working with poetic texts in chamber vocal piece. In this regard, the particular interest is the work by Z. P. Lodiy with verbal texts when editing the collection of Songs by F. Schubert to the words of Goethe in the translation of S. A. Adrianov, published in 1934 under her revision. The study showed that the unique experience by Zoe Lodiy deserves to be studied, serious scientific reflection and can provide significant assistance in training modern young performers.

The Formation of the Paradigm of National Self-identification in the Ukrainian Art of the End of the Nineteenth Century

The aim of the study is to show the unity of processes in the Ukrainian and European art in the end of the XIX – beginning of the XX centuries and to identify the connections between modern ideas and the formation of national identity. The methodology of the research. Methods of historical and art-study analysis have been used. Scientific novelty. The reasons for Ukrainians’ desire for national self-identification are revealed, the process of formation of the Ukrainian artistic elite in the context of the development of cultural autonomy is shown. Conclusions. As a result of the research, it has been discovered that the search for national identity in the realm of art, including the process of creating a national style, became a characteristic feature of the formation of self-identification among the representatives of artistic intellectual class. The formation and development of artistic life in Ukraine, as well as the formation of the national art elite through the creation of an art education system have been shown.

Соціальна топографія вірмен Львова

Мета статті. Розглянути історичну специфіку формування та функціонування вірменських кварталів і характерні риси соціальної топографії вірмен Львова. Досліджується культурний вплив вірменської етнонаціональної меншини на формування історичного обличчя Львова. Основним методологічним принципом дослідження став метод історичного аналізу джерел та синтез їхніх даних, який надав можливість розкрити специфіку історичного розвитку вірменських кварталів Львова як важливої частини культурного буття України. Методи інтерпретації та соціальної топографії було використано для вивчення впливу соціальної ідентичності та соціального статусу, професії та взаємин різних соціальних груп на їх територіальне розміщення в місті. Висновки. Вивчення історичної динаміки соціотопографії вірменської колонії Львова дозволяє зробити висновок, що вірмени Львова мали зазвичай престижне місце проживання упродовж всього часу існування вірменської колонії міста. Водночас чимало вірмен навіть у середньовіччі проживало поза межами обох вірменських кварталів, зокрема, на престижній центральній площі міста (пл. Ринок). У ХІХ – поч. ХХ ст. вірмени Львова стали органічною інтегрованою частиною львівських жителів, тому говорити про функціонування вірменських кварталів як автономного вірменського етнонаціонального топосу підстав немає. Однак представники вірменської інтелектуально-мистецької еліти відіграли помітну роль у створенні нового обличчя Львова.

PHENOMENON OF THE BIEDERMEIER PIANO MUSIC IN XIX CENTURY

The aim of the article – to consider the Biedermeier as a phenomenon of European culture, generated by the Restoration era. The evolutionary and typological qualities of Biedermeier in all the diversity of its national models (German, Polish, Russian, Italian, French) are projected on the piano music of XIX century and its performing traditions; to present Biedermeier as a specific direction of musical art which creates the conditions for understanding and absorbing of a complex academic repertoire by an unprepared audience. Methodology of the article – historical, general philosophical, social analysis of the Biedermeier as a cultural phenomenon, comparative analysis of national characteristics of the Biedermeier display.Scientific novelty – the Biedermeier phenomenon is presented as a specific direction of musical art which creates the conditions for understanding and absorbing of a complex academic repertoire by an unprepared audience. Biedermeier traits characteristic of different national and religious traditions are also analyzed and presented.Conclusions: the Biedermeier as a specific phenomenon of musical culture, a kind of connecting musical “link” between elite art and “mass consumer” of art, creates certain pedagogical prerequisites for raising interest in various social strata of the society for the complex repertoire of classical music. Such an approach in understanding the idea of the Biedermeier, including the musical one, will prove to be essential in the revival of the values of planetary human unity and state principles – by the forces of individual and personal efforts of citizens and creators of Ukraine and countries and nations territorially historically close to it, since technological and analytical achievements and spiritual and social transformations in the human society are derived from the indicated general idea of the Great – through the small.