Artistic Integrity Research Articles

ПОСТСОВЕТСКАЯ НОВАЯ ДРАМА: МАКРО- И МИКРОВСЕЛЕННАЯ КОНСТАНТИНА СТЕШИКА

The authors focus on the phenomenon of drama written by Konstantin Steshik, a young Belarusian playwright who writes in Russian. Describing and analysing this phenomenon is the aim of the researchers. The lack of research into the playwright's work is the reason for the novelty of the study. The relevance is determined by the demand for Steshik's plays in contemporary Russian theatre. The playwright's creative competence is proved by his numerous victories in Russian and international drama contests. The authors consider Stesik's work in the unity of the playwright's macro- and microcosm: the inner world of the characters and the circumstances they find themselves in. One of the authors' important tasks is to determine the foundation for Steshik's work. A historical and theatrical overview from Soviet Belarusian drama to the works of the authors associated with the well-known Belarusian Free Theatre association reveals not exactly the foundation, but the soil on which the phenomenon involved mainly grows. The authors note the close connection of Steshik's work to the phenomenon of post-Soviet «new drama». With its appearance on the territory of the CIS countries, social problems come to the forefront in contemporary theatre, and there arises a theme of reflection on the past, both in a positive and a negative way. In the final part of the article, the authors analyse the peculiarities of Steshik's poetics. The analysis made it possible to register the striking artistic uniqueness of the playwright's creative style. Steshik's plays clearly expand the scope of the post-Soviet «new drama». His voice stands out against the sharp social discourse of contemporary playwrights. Vivid metaphors, close to the traditions of «magic realism» literature, are mixed with psychological naturalism in an original way

A Study on Nail Art Work Using Pixels as Motives

Humans pursue new types of beauty to satisfy individuality and personal emotion. Moreover, digital culture becomes an indispensable part of daily life in the post-Coronavirus era. A pixel, the smallest part of a digital image, has been actively used in visual art, including in digital art and new media due to its ability to express symbolism. However, there is almost no research on nail art using pixels. Accordingly, it is urgently required to investigate the design and creation of novel and unique nail art using pixels. Thus, this paper aims to propose a variety of expression methods for nail art design by dividing nail art design using pixels into planes and 3D designs. In other words, this paper tries to present a further direction and provide basic data for nail art design. This will allow for an expanded scope of art applying unique approaches to the creation of nail art designs as a mean to enhance individuality and self-satisfaction.

ФОРТЕПИАННОЕ ТВОРЧЕСТВО КОМПОЗИТОРОВ РЕСПУБЛИКИ МОЛДОВА: ЖАНРОВЫЕ И ЛАДОТОНАЛЬНЫЕ СВЯЗИ С МУЗЫКАЛЬНЫМ ФОЛЬКЛОРОМ

In the article, the author analyzes some piano pieces written by the composers of the Republic of Moldova from the standpoint of determining how genre peculiarities and musical language elements of Moldavian folk songs and folk dances are reflected in them. In this light, an analysis of miniatures by Gh.Neaga, A.Starcea, C.Rusnac, and other Moldavian composers, which are a part of pedagogical repertoire in the country’s musical education institutions, is performed. The purpose of this article is to elucidate various forms of manifestation of national groundedness in the creations of Moldavian composers, the ways in which these forms evolved, and to characterize the evolution of the composers’ attitude towards the folk base of musical material. An examination of folk elements in the musical language of autochthonous piano pieces allows one to elucidate the national specificities of piano music by the composers of the Republic of Moldova, its originality and artistic uniqueness. The author shows conclusively that a familiarity with folk primary sources and a skillful modeling of their elements assists in creating a correct treatment of the piece performed. Key words: Moldavian composers, piano music, cantilena character, virtuoso character, Moldavian folk music genres, folk modes

SYMBOLISTS ANDREY BELY AND GEORGE BACOVIA: COMPARISON OF LOVE POEMS

The article discusses artistic features of the lyrical poems by A. Bely and G. Bacovia. The author also traces the features of symbolist poetics characteristic of both lyricists – the outstanding representatives of Russian and Romanian symbolism. The author compares the poems “The flying forest sings...” by A. Bely and “Pastel” by G. Bacovia, dedicated to the parting of lyrical characters, to love that is going away. These works reveal the main levels of artistic unity: image system, space-time continuum, lyrical situation, features of poetics and melody. An attempt has been made to translate the poem “Pastel” by G. Bacovia into the Russian language. The relevance of the research is determined by the lack of works devoted to the comparative analysis of Russian and Romanian symbolism, in particular, the lyrics of Andrei Bely and George Bacovia. The creativity of these poets finds its origins in French symbolism and at the same time has a bright individual character. The purpose of the article is to reveal the artistic originality of the worldview of two outstanding representatives of European symbolism, to trace the specific features of covering the theme of love in their works, taking the comparative analysis of A. Bely’s poem “The flying forest sings” and G. Bacovia’s poem “Pastel” as an example. The comparative analysis is the main method of research, it allowed to make a conclusion about the dramatic but bright nature of love in A. Bely’s poem and its pessimistic embodiment in G. Bacovia’s poem. Some conclusions are drawn about the similarities and differences in the image of the lyrical situation, the system of images, the space-time plan, colour values, composition, the ideological content, as well as the melody, rhythmic structure and meter.

Art markets and art products in the art marketing structure

The purpose of the article. Research of contemporary art markets and analysis of the problem of the creation and implementation of art products with the use of marketing technologies in the field of art. The methodology of the research is to apply empirical, comparative, and theoretical methods. This methodological approach makes it possible to reveal and analyze certain marketing technologies in the modern market of fine arts, taking into account the specificity and content of the art product. The scientific novelty consists in expanding ideas about the structure of art marketing. The article deeply analyzes an important problem related to the introduction of marketing technologies in the field of art. This sphere has its own originality. Art markets have a unique structure and art products have unique content. The article deals with the specificity of art markets, their main differences from the markets of classical goods and services. The article reveals the reasons for the emergence of art markets, as well as their advantages and disadvantages. Attention is also paid to the detailed disclosure of the features of art products, which in the marketing process act as the starting point in the chain of promotion of artistic goods in the market. A similar art product has symbolic and commercial components. The article also briefly discusses the problem of evaluating art products. Conclusions. Art markets have all the main features of the classic markets. however, art markets differ in their peculiarities, which are connected with the uniqueness of art products. The market of art is characterized by a unique specificity of supply and demand, pricing. Economic laws and stereotypes in the art market require adaptation. Artistic products in art markets are objects whose value is manifested in their essence. They can be the starting point in the chain of product promotion on the market and carry out a "search" of the consumer. The artistic product has a symbolic component and a commercial component and can bring significant returns to its owner. Marketing technologies are also used for the correct and competent evaluation of the art product.

Neil Young: The Man Who Fell to Earth

Canadian singer songwriter and composer Neil Young (b. 1945) has been puzzling the minds of his listeners for decades. His work is all about finding new shores and throwing old ways and patterns to the nearest ditch as soon as possible. He finds the idea of repeating himself simply abominable. His experimentation, sometimes brilliant, sometimes erratic and irritating for his lifelong fans exudes a great capacity for risk taking and cliché breaking. His instinctive artistic integrity and his premeditated scorn for the demands of the modern music industry are legendary. This article aims at explaining some of the constants which mark him out from the rest of the pack; not just as an artist, but also as a man.

The Aesthetic of Islamic Arts | جمالية الفــــــــن الإسلامي

The study of Islamic art is an analytical study of its most important features, as it is linked to the Islamic faith. Many studies were conducted around it, which attempted to question its originality and uniqueness from the rest of the arts that were contemporary to it or preceded it, and tried every time to refer its creativity and aesthetics to other arts. However the study of this unique art is a philosophical and intellectual study. At the end of the research, we reached the conclusion that Islamic art is one of the broadest arts, and that the intellectual approach of the Islamic faith had its clear imprint on its forms and contents on various arts. To sum up, the aesthetic of Islamic art was crystallized by the Islamic faith, despite the factors of influence and being influenced.

Original Projections of Author’s “Self” in Modern Russian and Uzbek Short Story

This article is devoted to the analysis of the short story genre in Russian and Uzbek literature of the late 20th and early 21st centuries, in which a subjectivist-open position in attitude to reality acquires the quality of the leading principle organizing its artistic integrity. The article analyzes the whole layer of works with different realization of the triad “author-narrator-character”. These three components of its beginning are connected at one point, the author becomes both the narrator and the protagonist of a literary text. Moreover, either a partial or complete coincidence of the narrator with the author is observed. In such stories, regardless of the object of reflection, the narration is conducted in the first person and is purely subjective. We decided that it was logical to consider them in accordance with one or another specific type of authorship presented. As a result, we have developed a classification of the types of the author’s “Self”, which is represented by introverted, juvenile- retrospective and lyrical types of the author’s “Self” in modern Russian and Uzbek short stories

GENRE CHARACTERISTICS OF ROMANTIC FANTASY FOR THE GUITAR ON A BORROWED THEME BY F. TARREGA

The purpose of this article is to identify the individual-style features and genre characteristics of romantic fantasy for the academic professional guitar. The methods of the research are based by investigator on the application of a comprehensive approach, namely: evolutionary and historical methods – in the disclosure of the processes of formation and subsequent evolution of the genre under study; analytical – in the study of different genre literature, concerning the chosen problem and others. The scientific novelty lies in the fact that fantasies for F. Tarrega’s guitar is analyzed by researcher for the first time. On their example, the individual-style features of the fantasy genre are revealed by scholar. Conclusions. In the course of the work, the genre characteristics of F. Tarrega’s romantic fantasy were analyzed, and it was discovered that virtuosity comes to the forefront as a mandatory quality of fantasy, which was associated with the emergence of virtuosos of composers and performers Napoleon Costa and Francisco Tarrega. Thanks to them, the guitar falls a focus of attention of famous virtuosos who study its chamber and orchestral capabilities. Fantasies for the guitar are improved in form and thematism, using as exclusively original thematism, and borrowed. In the era of romanticism, fantasies on a borrowed topic get the most development, a prerequisite for which was the growth of a virtuoso style of performance, which undoubtedly led to revolutionary achievements in the field of expressive means. One of the main features of guitar fantasies on a borrowed topic was the superiority not of composing, but of performing means of expression: agogics, dynamics, intonation and others. Fantasies for the guitar are extremely virtuosic and require considerable performing skills. However, virtuoso techniques are only of a subordinate nature, and borrowed themes become only an impulse for creating a new artistic integrity. From the point of view of the actual musical structure, such works are characterized by a combination of the form of fantasy with the variational principle of material development.

A SURVEY ON THE RESEARCH OF TRADITIONAL CULTURAL SYMBOLS APPEARED IN THE Y.KAWABATA NOVELS IN VIETNAM

Kawabata is one of Japan’s leading writers. Kawabata’s works are a place to preserve and preserve old traditional values becoming a miraculous bridge to bring Japan across the ocean to the whole world, and to bring the world to the land of beautiful cherry blossoms. Therefore, his works have been the object of many large and small research projects domestically and internationally. Within the scope of the article, we have conducted surveys of works and articles on traditional cultural symbols in Kawabata’s novels under the following angles: Biography, Poetry, Psychoanalysis and Culture, thereby, affirming the talent and the unique art style of Kawabata. Beauty is at the heart of culture and art in Japan so Kawabata’s writing point of view also focused on the ultimate beauty including its expression and the way in which it is expressed.

Enset (Ensete ventricosum) and the Archaeology of Southwestern Ethiopia

Enset (Ensete ventricosum) is an indigenous Ethiopian domesticate growing in what is known as the “enset zone” of southwestern Ethiopia. Few archaeological sites have been excavated in this region, and only one site has yielded remains of enset. However, the abundant megalithic and rock art sites in the region compensate for the paucity of the archaeological record. This review article provides an interpretative analysis of the existing body of work to shed new light on the beginning of agriculture in the “enset zone.” It integrates the region’s archaeological evidence, recovered through excavations, with the information from megalithic and unique rock art sites. The archaeological evidence of this zone indicates a late introduction of domestic stock and pottery. The unique megalithic and rock art traditions in this region are considered to be part of the distinct cultural adaptations related to the later phases of food production.

‘Devious silence’: Refugee art, memory activism, and the unspeakability of loss among Syrians in Turkey

ABSTRACT In the past few years, and especially since the start of the ‘refugee crisis’, a number of research, NGO, and policy initiatives have channelled resources to representing refugees through artistic endeavours. The underlying assumption in such projects is that art offers refugees a significant avenue to tell their story and acquire a ‘voice’ that is otherwise restricted in contexts of limited rights. In this article we aim to complicate some of the straight-forward assumptions underlying the connections between art and the representation of displacement and loss through ethnographic research conducted with professional Syrian artists in Istanbul. With an emphasis on ‘refugee art’, such artistic projects force artists to conform and identify with this category, silencing more complex processes of identification and subjectivity, communal historical continuities and personal loss, as well as artistic aspirations and expressions. The article demonstrates that the aestheticisation of displacement and loss produces an ‘unspeakability’ (Weller, Robert. 2017. “Salvaging Silence: Exile, Death, and the Anthropology of the Unknowable.” Anthropology of this Century 19 [Online publication]. Accessed June 6, 2019. http://aotcpress.com/articles/salvaging-silence/) of personal experience and trauma, and, in some cases, a permanent withdrawal from artistic production. As much as artists experience this as a form of imposed silencing, they also articulate their withdrawal as a tactic of agentive creativity. We, therefore, argue that unlike in the modern art practices described by Sontag (1983 [1982]. “The Aesthetics of Silence.” In A Susan Sontag Reader, 187–188. Harmondsworth: Penguin), this ‘permanent silence’ is not an elitist, individualistic and dehistoricizing strategy. This context of conflict and protracted displacement reveals multifarious silences that are both results of unequal politics of representation but also tactics of reclaiming identity and artistic integrity, and of maintaining continuities between past, present and future.

The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting

Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.

Song genres of traditional folklore of the Dargin people: ideological-aesthetic and artistic uniqueness

The subject of this research is the key genres of song folklore of the Dargin people – one of the ethnoses of Dagestan, which includes such Akushin, Kaitag, Kubachin, Mekegin, Tsudakhar, and others. An attempt is made to examine genre diversity of the Dargin people traditional poetic folklore, describe the forms of existence of specific genres, determine their ideological-aesthetic and artistic content, trace their evolution and transformation, as well as characterize the poetics. The goal of this work consists in demonstration of genre diversity of the song folklore of the Dargin people, its national specificity, artistic uniqueness and forms of existence. In the course of this research, the author applies the method of scientific analysis of theoretical literature on the topic, comparative-typological and descriptive-analytical methods, including observation, interpretation and comparison, which allows giving philological assessment of the text, reveal folk poetic means of expression. The scientific novelty lies in establishment of the fact that some of the genres under consideration still exist, but have undergone transformation. In a number the Dargin Districts, such as the rural localities of Harbuk, Urkarah, Madzhalis, Kubachi, Usisha, etc., texts of ritual poetry that have been previously performed by the adults, now shifted into the repertoire of children's folklore; multiple wedding songs – from ritual folklore to the category of love lyricism, and are performed mostly at youth parties and festivities. Lamentations were subjected to the influenced of Muslim religion, and now often feature the appeals to Allah to bless with patience and mercy, etc. Ballades in the folklore of the Dargin people also experiences certain genre changes: tragedy and drama of the situation fade away, and the ballades grow into the type of lyrical song of family, life or love content.

Application of Traditional Embroidery Techniques Aided by Image Design Software in Modern Clothing Design

Embroidery, as a folk craft widely inherited by our country, has experienced thousands of years of cultural accumulation and precipitation, and has a very high artistic achievement. Under the background of economic and cultural development, traditional embroidery has formed a unique and complete art system, which has a high reference value for the application and development of fashion design. Based on the discussion of the artistic characteristics and cultural connotation of traditional embroidery, this paper analyses the application principles and development status of traditional embroidery in modern clothing, and puts forward innovative thinking and design methods of embroidery in modern clothing, uses computer image design software to assist in researching the application of traditional embroidery technology in modern clothing design, with a view to making some exploration, innovation and contribution to inheriting ancient Chinese handicraft and integrating it into modern clothing design.

وحدة القصيدة في النقد العربيّ القديم حتى نهاية القرن الرابع الهجريّ

he concept of artistic unity, in Ancient Arabic criticism, is achieved through the smallest unity. This is expressed through the poetic verse, which is meaningfully and rhythmically a unit that possess its own integrity. Thus, this makes it separate from the poem. However, this separation becomes a connection when it participates with other verses to build the poem. So, we may argue that this unity creates a separation on the level of the poetic line. On the other hand, it also forges connection on the level of the poem as a whole, and its causality with its neighboring verses. And through the numerous objects of the poem, the article "Unity" achieves by what was named Hosn AL kharoj to give a good connection to the point of assemblage of these objects. Keywords: Unity of the Poetic Verse, Unity of the Arabic Poem

What Can't Be Said Can Be Written: The Representation of Silence in Herta Müller's Visual Texts

What is going on? How can silence be said, and be a source of meaning? Silence is defined as a complete absence of sound, an absence of information, or even a temporal limitation of speech. Silence is not a failure of language to communicate. When people get short of words, feelings, safe space, or even want to flee from punishment, they choose to keep silent. Yet, silence could be a smart tactic to cross borders, to personify agony, and to engage others’ imagination. Silence can open up new contexts and reveal hidden feelings in an unprecedented manner. The oeuvre of the Romanian writer Herta Muller exemplifies the absence of sound and even the absence of life itself. Muller manages to break through the formal constraints of language in a significant and artistic manner. She has a peculiar and creative way of describing her world. Her creativity is not limited to language as she always questions the power of language to express thoughts and feelings. Language could be a space where Muller can bend words, forms, colors, and shapes. In her collage poetry, Muller can defamiliarize language in an unconventional manner. She uses a unique art form, the art of cut-ups that makes the words and images speak for themselves. Faced with physical threat and psychological repression of the oppressive and dictatorial regime of Nicolae Ceausescu, Muller resorted to silence to say what can’t be said. This paper aims at highlighting the art of collage as a tool used by Herta Muller to express silently incongruent images and texts to express fear and oppression. It will scrutinize the authenticity of the collage poetry of Herta Muller and how her rich and colorful images helped her to gain a foothold in the new setting. It also attempts to elucidate the difference between the silence of language and the silence of things.

The Strategies of Adaptation of Ivan Bunin in the Cinema: Interpretation and Reinterpretation

The article discusses the strategies of interpretation and reinterpretation of fiction on the case of the film adaptation of I. Bunin’s novel Dry Valley (Sukhodol) (1911) by the modern Russian director Alexandra Strelyanaya. In Bunin’s novel and the film of the same name (2011), the focus is on the character of the “Russian soul.” The authors demonstrate that there are two strategies of fiction adaptation - interpretation and reinterpretation. The experience of the director combines both strategies in such a way that, within the framework of the interpretation, which preserves the artisitic integrity of the literary source, a local reinterpretation takes place. If a global reinterpretation leads to a complete rethinking of the basic text, including its deformation, which initiates the formation of a new artistic integrity in which the source is recognized only partially, then a local reinterpretation affects exclusively individual elements of the literary basis. Such an experience opens up new horizons in the process of exploring the original source, setting a new different look at the classical model. After a comparative analysis of the text of the source and film text, the authors come to the conclusion that, unlike the novel’s character of Natalya, who has a “beautiful and miserable” soul, Natalya in the film appears in all the grandeur of her spirit. In this context, the once undivided love for the young gentleman, which arose in the soul of the main character, eventually becomes for her the source of divine Love, which Natalia keeps up to the end of her days and which permeates her whole being. Therefore, nothing else than Love acts as a criterion for the authenticity of the Russian soul of the central character of Bunin’s novel, and such love is the unshakable foundation of the individual’s spiritual independence.

Stand-Up Comedy, Authenticity, and Assertion

ABSTRACT Stand-up comedy is often viewed in two contrary ways. In one view, comedians are hailed as providing genuine social insight and telling truths. In the other, comedians are seen as merely trying to entertain and not to be taken seriously. This tension raises a foundational question for the aesthetics of stand-up: Do stand-up comedians perform genuine assertions in their performances? This article considers this question in the light of several theories of assertion. We conclude that comedians on stage do not count as making genuine assertions-rather, much like actors on a stage, they merely pretend to perform speech acts. However, due to norms of authenticity that govern stand-up comedy, performers can nonetheless succeed in conveying genuine insights. Thus, our account accommodates both the seemingly incompatible aspects of our ordinary appreciation of stand-up comedy and points toward deeper philosophical understanding of stand-up comedy as a unique art form.

THE DEVELOPMENT OF MUSICAL EDUCATION IN THE UKRAINIAN DIASPORA OF CANADA AND THE UNITED STATES OF AMERICA (THE END OF THE XIX CENTURY – THE MIDDLE OF THE XX CENTURY)

This publication provides a brief overview of the formation and development of the musical education of the Ukrainian Diaspora of the United States of America and Canada of a specific period – from the end of the XIX to the middle of the XX century. The article presents the most important organizations where art institutions or collectives worked. The author points out the difference between the two important components of musical art: folklore and academic directions. It is indicated that folklore traditions were brought by representatives of the first and (partially) second wave of emigration. Pioneers (first migrants) created folklore groups in their new place of residence, built temples in which choral singing traditionally sounded. The second (in the interwar period) and third (after the Second World War) waves of emigrants began to cultivate the academic direction in music. This was facilitated by the large number of graduates of higher educational art institutions of Ukraine who arrived in North America. The author also points out that the phenomenon of assimilation did not pass by the musical education of the Diaspora. Entry into a foreign ethnic society was ambiguous. Someone perceived this process as inevitability. And someone was not ready. In the article, the author describes the best traditions of religious musical education, points out two components of musical education – general and special. Leading educational institutions, collectives with powerful educational traditions are also named. The author did not deprive attention of the names of prominent musician teachers, whose work was the key to a high professional level of artists of the Ukrainian Diaspora.In general, it is difficult to overestimate the role of Ukrainians overseas. For a certain period of time, culture preservation became an important component of life of immigrants, moreover, the authentic art of Ukraine found a shelter (protection) from foreign ethnic interference and stratification. At a time when total destruction and devastation of ancient culture was taking place in the Ukrainian lands, the Bolshevik millstones were grinding whole layers of unique art. The authorities claimed to replace not only the traditions, but also the artists themselves. Therefore, someone was broken spiritually and forced to glorify the party, some were killed immediately, and most were sent to filtration camps and prisons.That is why Ukrainian artists in North America were sometimes more familiar with history, had the opportunity to work and create new unique masterpieces, and were educated in various fields, including music.Ukrainian has not been lost abroad. Thus, even in the "big cauldron" (as New York is often called), among hundreds of other ethnic groups, in the Canadian steppes and mountains, it started with a hut and tanned working hands of yesterday's peasants. Violin or flute played unpretentious melodies; mothers sang lullabies and in the new churches and cathedrals the ancient Ukrainian church hymns sounded.Over time, a new generation of performers came from the villages to replace the amateur violinists. They were organized into teams, in most cases – family. Those musicians were also self-taught. However, this did not prevent them from being virtuosos. The postwar period brought to the stage a powerful generation of true geniuses who had no place in the Bolshevik artistic pantheon. These were already graduates of powerful educational institutions of Ukraine: conservatories, music institutes, seminaries.This wave of new citizens of Canada and the United States has brought a fresh powerful impetus to the education of the Ukrainian diaspora. They shared their talent in various artistic communities that worked under the auspices of clubs, societies and public organizations. Also, important was the work of artists in special educational institutions or powerful art groups (bandura schools, holiday camps, university campuses, etc.). It should be noted that music art and education had the great support of Ukrainian patrons and philanthropists, for both countries did not stand aside from the development of educational artistic traditions. However, most of the financial injections and legislative support belong to Canada. In the United States, however, artists received more support from private patrons. They acted on the ancient principle that their homeland (and in our case – the musical art of their distant and unforgettable Ukraine for years) should be loved not to the depths of their hearts, but to the depths of their pockets.