Artistic Orientation Research Articles

Polish Culture in Ukraine in Conditions of Establishing the Ukrainian State (1917–1921)

The purpose of the research is to find out the transformations in the Polish educational and theatrical and artistic activity in Ukraine in the conditions of changing forms of Ukrainian statehood, ideological systems and social transformations in 1917-1921. The methodology of the research is based on the application of the principles of historicism, systematic, social approach. In order to accomplish these tasks using historical, systemic, structural and functional methods, the article describes the main stages of the development of Polish schooling, analyzes the activities of Polish public organizations of educational and cultural and artistic orientation, and clarifies the significance and impact of Polish theater on public life. The scientific novelty of the research is to find out the influence of different forms of Ukrainian statehood, change of ideological systems and social transformations during the period of national liberation struggle of 1917 - 1921 on the development of Polish education and cultural and artistic life in Ukraine. Conclusions. After the Russian revolution of February and the creation of the Ukrainian state authorities in 1917, an active process of building Polish national life in Ukraine began. In the spring of 1917, the Polish representative institutions were established, and the cooperation of the Polish democratic forces with the Ukrainian authorities began. Thanks to a favorable UCR policy aimed at securing the rights of national minorities and introducing national-cultural autonomy, a process of mass creation of Polish elementary and secondary schools was underway, and a number of Polish educational organizations emerged throughout Ukraine. The implementation of the policy of ensuring the equal rights of the entire population in the Ukrainian State by P. Skoropadsky has led to the abolition of national and personal autonomy. However, this period remained favorable for the development of Polish education and culture, as it provided political stability and the opportunity for the development of Polish socio-political and cultural life. The Bolsheviks' assertion of power in 1919 in Ukraine as a result of the struggle of different political forces and ideological systems cemented the class priority of social development and denied the possibility of continuing Polish educational and cultural activities because of the harassment of Polish public figures, which caused them to leave Poland. The remaining centers of Polish education and culture continued to operate within the Soviet system.

Наукові підходи до формування сольних співацьких навичок в учнів молодших класів

The article presents the issues related to the formation of primary school schoolchildren’s solo singing skills. The purpose of the article is to substantiate scientific approaches and principles, the implementation of which contributes to successful formation of primary school schoolchildren’s solo singing skills. These approaches ae bound to the ideas of humanistic, structural-systemic, anthropological approaches. The principles of their implementation have been grounded ‒ the creation of a psychologically comfortable environment; individual-personal planning of the vocal-forming process; monitoring of the process and results of the classes aimed at mastering junior schoolchildren’s solo vocal skills; artistic and communicative orientation of the vocal and educational process; stimulation of primary schoolchildren’s creative activity in musical and playing forms alongside with the solution of their artistic and performing tasks. Some typical mistakes demonstrated by starting teachers have been analysed, which inhibit the process aimed at the formation of primary schoolchildren’s solo singing skills and their manifestation at three levels: interpretative-communicative, performing-artistic, forming-technological. The importance of mastering propaedeutic competence by university teachers has been substantiated as a way to anticipate professional mistakes typical for teachers-beginners. Keywords: singing skills; primary school pupils; scientific approaches; pedagogical principles; propaedeutics of typical pedagogical mistakes.

V. STUS: SYNTACTIC INNOVATIONS IN THE POETRY

The article deals with syntactic innovations in the poetry of V. Stus, reveals the communicative and functional essence of the "segmented construction" concept, describes the functions of constructions with nominative of concept and defines the place of segmented constructions with the meaning of theme in the poetry of the author.Background: The poetry system of V. Stus combined various techniques for the creation of stylistically loaded linguistic units, their syntactic modifications, and witnessed the acquirement of new expressive shades, through the direct subordination of the linguistic and aesthetic task. The segmented constructions with nominative of theme is the traditional object of the study of poetry. Innovative processes, which were reflected in poetry, determined the possibility to outline the trends of the development of a new syntax of poetry. New tendencies in the syntax are most pronounced in syntagmatic decomposition, therefore, these constructions with a weakened syntagmatic relation belong to the expressive syntax.Purpose: The process of segmentation, which means the separation of the text into segments, takes place in the modern expressive Ukrainian syntax, therefore the task of our study is to discover the communicative and functional essence of the "segmented construction" concept; to study the poetry of V. Stus at the level of the separated structures of the expressive syntax; to analyze the functions of constructions with nominative of concept in the poetry of V. Stus; to determine the place of segmented constructions with the meaning of theme in the author's poetry.Results: The means of expressive syntax in the poetry of V. Stus are partially and segmented sentences. These are the most effective stylistic techniques that fill the sentence with some expression, emotionality, make it closer to everyday speech, visualize the idea, create a peculiar drawing of the poem. Elements of expression can be distinguished in written speech forms, in which imagery belongs to the defining features and motivates their functional load. Segmented constructions of expressive syntax, namely, constructions with nominative of concept, give a special emotionality to poetry. In the poetry of V. Stus the use of constructions with nominative of concept can be traced. Such syntactic constructions with high accentuation, intonational and semantic concentration, caused by a sharp reduction in the length of the sentence, implement the author's subjective modality, enhance the conceptuality of the author's expression. The constructions with nominative of concept, which V. Stus uses in his work, can characterize the internal state of a person, the names of events, phenomena of nature, etc., the names of persons (by profession, by degree of affiliation, general name of person). The constructions with nominative of concept in poetry of V. Stus perform various functions, among which the introduction of the reader into the philosophical argument of the hero or the author plays an important role. The functioning of such constructions is accompanied by a psychological subtext.Discussion: The syntactic level of the poetry of V. Stus is subordinated to a general artistic orientation to emotionality and expressiveness. The specific content of the poetic image in the context of a broad context is reinterpreted, its semantic and functional structures are expanded due to various emotional and semantic transformations that are enriched in the reader's perception of new, unexpected associations. Focusing on a certain cut-off text of a complex of various stylistic techniques increases significantly the expression of the lyrics of V. Stus, distinguishes the most significant parts of the text and determines its individual stylistic originality. The study of the dynamic processes of segmented constructions, namely, the constructions with nominative of concept, the manifestation of their expressive means in the poetry, is one of the main tasks at the present stage of the development of Ukrainian linguistics, which is the prospect of further research.

ФОРТЕПІАННА МУЗИКА ДЛЯ ДІТЕЙ ЯК ЗАСІБ ФОРМУВАННЯ МУЗИЧНО-ЕСТЕТИЧНОЇ КОМПЕТЕНТНОСТІ ПІДЛІТКІВ

The peculiarities of piano music for children and its possibilities in forming the musical and aesthetic competence of adolescents are considered in the article. The ambiguity of the concept “piano music for children” is defined – as works for children and works about children, between which does not have a clear facet. Presented is the genesis of the formation of the genre, beginning with F. Cooperin, I. S. Bach and ending with music of the ХХ1 century. In the twentieth century piano music for children occupies a significant place in the works of composers of Ukraine and China. Composers of the new generation have taken as their basis the recognized, classic model of Western music and have combined it with folk traditions. The authors of such works were musicians who received education abroad (V. Barvinskiy, N. Nizhankivskiy, Zhao Yuanzhen, Chi Rushshoy, Xiaoyumei, etc.). The album by V. Kosenko “24 children’s pianos for piano” is considered, in which attracts the simplicity and clarity of the musical language, the artistic orientation of expressive means, the correspondence of figurative content to the children’s perception; four piano compilations by V. Barvinskiy, which became the basis of the national pedagogical repertoire for pupils of adolescence; “Fortepian works for youth” by N.Nizhankivskiy, which is characterized by elegance, artistic-figurative colorfulness, weighting of performances. Among the Chinese composers are Hay Lutin, Jiang Wen Ye, Liu Xu-anya, Lu Baihua, Chu Wei, Sun Ton, who worked in the genre of children’s piano suite, expanded her themes and genre diversity. The further development of this genre is associated with the names of composers V. Silvestrov, M. Skorik, B. Bibika, Chu Wei, Zhu Gun, Liu Fanya, Yang Jun who introduced unusual means of musical expression in the children’s piano music, elements of dwarfism, butatory. The genre of the children’s piano music is represented by a group of simple genres (song, dance, march); lyric-epic (poem, ballad); polyphonic (invasion, fugue, prelude and fugue, turnat, passacal); cyclic (suite, variations, sonatas). Thus, historical and cultural origins, folk song basis, innovative music language, defining the originality of piano music for children of both countries can become the basis for the formation of adolescents musical and aesthetic competence.

The Role of Family and Teachers on Art Choice of Students- The Example of Fine Arts High School

In the study, the main factors influencing the artistic orientation of the students (choice of art branch and art school) and how families and teachers influence the orientation of students who pursue a career at the field of art have been analyzed. The quantitative data of the study reveal the main factors influencing students’ choice of art branch and art school. The qualitative data obtained from semi-structured interviews provide an in-depth understanding of how families mobilize their cultural, economic and social capital they possess with different degrees and structures and the functioning of this process. In addition, it highlights the various social factors such as recognition of talent by teachers, supporting and guiding talent to choose art education and the resources used in this process. In this study, family has emerged to be a significant source as the initial accumulation of every kind of useful cultural capital and a place of transmission of diverse capitals across generations in the artistic tendency. Students' familiarity with the art field, embodiment of behavior and attitudes have begun in childhood. The artistic characteristics, interests and occupations of the family members were reproduced by the next generations and this also included their school and subject choices. The cultural capital they acquired through the process of family socialization did not only affect the cultural interests, mental tendencies and preferences of the students who chose art, but also shaped their habitus. It also provided an understanding of the “rules of the game” in advance in the field of art and what they should do. In addition, discovering talent at an early age, belief in talents’ ability, supportive and guiding approach of teachers have a decisive influence on the students’ choice of art.

Manager’s Personality and Their Professional Career

Abstract Introduction: The research study deals with the personality of managers in regard to their professional career. The main objective of the study was to find the relationship between the personality dimensions according to the Big Five personality traits model and Holland’s typology of the six personality types and work environment types. Methods: The research sample consisted of 121 managers from different levels of the subordinate system in state organizations and private companies in Slovakia. The personality dimensions Neuroticism, Extraversion, Openness to experience, Agreeableness, and Conscientiousness were in this research measured by the NEO Five-Factor Inventory. We have also used the SDS questionnaire - Self-Directed Search to determine the personality types and work environment types - RIASEC codes. The statistical evaluation was performed using the SPSS 20 statistical system, with the data evaluated by methods of descriptive and correlation analysis. Results: There were the highest values recorded in Conscientiousness throughout the research sample. The lowest values were recorded in Neuroticism. We found out that the Summary Code of managers is ESI (Enterprising, Social, Investigative), of male managers is EIR (Enterprising, Investigative, Realistic), of female managers is SEC (Social, Enterprising, Conventional). When comparing the individual RIASEC personality types, we found significant differences between males and females. Males are more realistic than females, more investigative and enterprising than females. Females are more social and conventional compared to males. There was no gender difference in artistic orientation. The RIASEC personality types in the entire sample match the RIASEC work environment types according to SDS, regardless of age. The results demonstrated relationships between the NEO - FFI personality dimensions and personality types and RIASEC work environment types codes according to SDS. Discussion: We can say that managers in our research sample are primarily Enterprising types with leading life orientation. Typical representatives of this personality type are characterized especially by traits such as dominance, ambition, focus on success, self-confidence, sociability, and responsibility. In the context of a manager’s success and their effectiveness, or ineffectiveness in work environment, the most predictive Big Five factor for an effective manager is Neuroticism, all effective managers scored low in Neuroticism. Results obtained by the SDS questionnaire - Self-Directed Search confirm our findings of prevalent personality dimensions in the overall personality profile of managers. The overall RIASEC personality code of managers according to SDS is ESI in the whole research sample, thus we can conclude that in the case of the overall personality type - RIASEC code of manager the dominant personality type is Enterprising/leading, followed by the Social personality type and the third is the Investigative personality type. Limitations: One of the methodological limitations of this research is the number of participants in the research sample. We do not consider this number as representative for the purpose of generalizing the results. Conclusions: Research results show that there is a relationship between professional orientation and personality. Some personality dimensions are significantly related to professional orientation types and to professional interests, whereas others are related only non-significantly or not at all. Significant relations were found between the dimension Openness and Artistic, Leading, and Social type, between the dimension Extraversion and Enterprising and Investigative type, and between the dimension Agreeableness and the Social type. Realistic type was not related to any personality dimension. The dimension Neuroticism was negatively related to all professional types. For the career counseling practice and selection of job seekers and manager position applicants, this may mean that despite confirmation of these convergences, there may be different relations between different Holland’s professional types and personality dimensions. These findings can be the focus of further research on students in their final year of secondary school when they are deciding on their future professional career. This research study, we believe, has contributed to the understanding of the relationship between personality and professional career. The results confirm that professional orientation and personality interact and influence the professional behavior of a person.

Artistic orientation, financial literacy and entrepreneurial performance

PurposeThis study aims to examine the relationship between artistic orientation and entrepreneurial performance and how other central entrepreneurial resources, namely, entrepreneurial orientation and financial literacy, affect this relationship.Design/methodology/approachRegulatory focus theory was used to develop the model. A survey of 375 small creative business entrepreneurs was conducted in Yogyakarta, Indonesia, and a hierarchical linear regression was used for data analysis.FindingsThe results reveal a positive correlation between artistic orientation, entrepreneurial orientation, financial literacy and entrepreneurial performance. Therefore, artistic orientation affects a creative firm’s financial and nonfinancial performance. In addition, artistic orientation and financial literacy provide a positive influence on the overall performance of a creative venture. However, the interaction effect of entrepreneurial orientation and financial literacy on the artistic orientation – performance relationship – is invisiblePractical implicationsThis research provides guidance on how creative firms may focus on the acquisition, development and protection of useful resources, namely, artistic orientation and financial literacyOriginality/valueThis research is the first systematic empirical test evaluating the relationship between artistic orientation and entrepreneurial performance

Сохранить свое, не пренебрегая чужим: Культурные коды детской литературы Русской эмиграции [To Preserve Our Own Without Neglecting the Foreign: Russian Émigré Children’s Literature Cultural Codes

The article treats the problem of the “own” and the “foreign” in culture, applying it to the history of Russian first-wave emigration in general and its children’s literature, in particular. Relying on the comparative analysis of various emigre cultural discourses and their hermeneutic reading as the methodology, as well as the vast number of sources (emigre periodicals of various ideological, aesthetic, and artistic orientation, emigre writers’ and prominent cultural figures’ memoirs), the author reconstructs the history and formal / functional paradigms of children’s literature (also understood as literature for children’s and / or family reading) during the emigration of the 1920s–1930s. Two major theoretical issues discussed in the article are the formation of the mechanisms of the cultural / literary canon amid the changed existential circumstances, and the functional shift of children’s’ literature during the diaspora towards the pedagogical rather than the aesthetic or the artistic. The undertaken analysis makes it possible to argue that the children’s’ literature canon during emigration a) preserved the traditional Russian classical literary canon, b) enriched it by means of including quite a few names and titles formerly considered “trivial”, c) included a number of “texts for children” written in exile as well as memoirs of the “good olden times” in the lost / abandoned motherland, d) made use of children’s books by foreign authors translated into Russian both before and during the exile period. Keywords: 20th-Century Russian Literature, Children’s Literature, emigre Periodicals and Publishing Houses, History of Literature.

Теоретико-методичні основи формування полікультурної компетентності майбутніх спеціалістів мистецької галузі художнього спрямування у процесі вивчення англійської мови

Теоретико-методичні основи формування полікультурної компетентності майбутніх спеціалістів мистецької галузі художнього спрямування у процесі вивчення англійської мови

Виховання співаків спеціальності «Академічний вокал» в умовах інклюзивної освіти

Education of singer is a rather difficult task. It requires a lot of effort from the performer, constant control by his teacher. In recent years, the number of problems with deterioration of vision has increased. One of the cornerstones for pupils with certain pathologies associated with vision is the difficulty of obtaining information. At present, there is a shortage of musical notes recorded on the Braille system. Not every educational institution has such scores, which poses a number of difficulties for the implementation of full-fledged inclusive education. It should be noted that in recent years there has been a lot of money for the creation of notes on this system related to programs that can translate digital text into notes; there are not enough printers to print such text.The works of modern composers, as a rule, are not recorded by the Braille system. When mastering them, it is necessary to implement other approaches to their development. When studying works, the importance of working with a specialist teacher and a concertmaster is increasing, this should help at all stages. Particularly important is the stage of parsing the product, the thorough processing of all components of musical tissue, the correction of certain problem items. Extremely important is not only the individual development and independent work of the student, but also his ability to participate in collective projects - concerts, opera performances. Vocal performance requires the ability to reproduce a large number of emotional shades that should reveal the artistic image resulting from the composer and performer's co-creation. This result is formed when the singer interacts with other participants in the music process - other vocalists, orchestras.The introduction of inclusive education in modern institutions of artistic orientation is one of the most urgent tasks of native pedagogy. The education of the performers of the direction of "academic singing" in the framework of inclusiveness requires the development of new techniques that would be designed to disclose the creative potential of students. There are electronic versions of music texts on the Internet, but mostly classical works that do not contain vocal-instrumental opuses by composers of the second half of the XX-XXI century. Actuality acquires the study of works through various audio versions, which should be analyzed in order to choose a more expedient option. An extremely important task is to work with teachers, whose goal is to create the latest techniques, which would be broadly included in the learning of the achievements of media culture - computer equipment, software, electronic resources available on the Internet. Another promising area for further research is the outline of aspects of psychological readiness for the teaching process, both for teachers and students.

Scriabin – piano music in the context of the composer’s creative ideology. Part 2

The article is the second part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. Throughout the period of around 20 years, Scriabin’s musical language transformed drastically, which is most fully shown in his piano pieces, especially miniatures and sonatas. The second part of the article presents a general characterisation of Scriabin’s piano compositions and musical language in subsequent stages of his creative work. The analysis refers to style and form-related topics, melodics and harmony he used, texture and timbre phenomena and the connections between piano and symphonic pieces. The author of the article reflects on the essence of Scriabin’s artistic orientation and the fact whether the change of his musical language can be called an “evolution” as such. An important element of the article is the presentation of the structure of each piano sonata. The included characterisation of the change of his musical language is an addition to the first part of the cycle, enabling the reference to the stages of the composer’s life juxtaposed there with the description of the transformation of his artistic views.

ПОРІВНЯЛЬНИЙ АНАЛІЗ „ГУЦУЛКИ” У ВИКОНАВСЬКИХ ІНТЕРПРЕТАЦІЯХ ДВОХ СКРИПАЛІВ КОСМАЦЬКО- БРУСТУРСЬКОЇ ТРАДИЦІЇ

In the offered article, a comparative analysis of two performing versions of the wedding ceremonial dance “Hutsulka”, dominant in the Eastern Carpathians region of Ukraine has been made, with outstanding violinists-capellists, which, based on traditions and their own virtuoso style, developed this dance genre due to the accumulation of stable and mobile elements of melo-, rhythm- and form-making, as well as the establishment of aesthetics of regional styles. The material for the study was the audio version of the “Hutsulka” recorded on the basis of the performance of two violinists representing the region of Kosmach- Brusturiv villages tradition – Kyrylo Lyndiuk (“Vityshyn”, 1929–2003) (recorded by prof. Bogdan Lukaniuk in 1991) and Ivan Sokoliuk (born in 1944; Musician's own recording of 2017) – and transcribed by the author of the article. The performance of “Hutsulka” by each violinist is characteristic of common and distinctive features concerning the formation of the variative composition, the thematic material (respectively, 29 and 43 themes of kolomyika, kozachok and voloshka bases), tonality and rhythmic structuring, individual interpretation of ornamentation, which is collectively connected with artistic orientation on certain artistic and performing directions, presented by iconic musicians-predecessors. The formal features of the Hutsulka composition depends on scenery where it is performed (1); the tonality outline determined by established regional tradition (2), and rhythmic outline, by the overall style, varyation technics, updating and ornamentation of rhythmic formulas, characteristic of the personal manner and style of the performer (3). Ornamentation, as the essence of the performing style of any Hutsul musician, in K. “Vityshyn” is characterized by intense interweaving of short melismatic legal groups and non-legal figurations within melodic line and texture. I. Sokoliuk 166 enriches the linear movement with prolonged melismatic groups and rhythm- intonational and figurational turns that decorate it and amplify the expression of dance overall sonority. In performing aesthetics of K. Lyndiuk prevails an acute articulation of melodic expressiveness with accented and often pointed rhythmic patterns that provides representative-temperamental virtuosity. For strategic performance aesthetics of I. Sokoliuk, rich in virtuosic expressiveness, is characterized by choral and transparent ringing articulation in the context of “stratum”-development creation of the whole large-scale virtuoso composition. Each version reveals individual compositional, improvised, techno-performing, emotional as well as aesthetic mind of their creators. All these qualities, formed by both musicians in a single tradition and expressed in related kolomyika and kozachok-voloshka tunes, present the decision of developmental, composite, rhythmic, intonational, articulation, tempo and many other aspects of style, characteristic of folk violinists – soloists and capellists, inherent to each of them, in their performing manner, evident in “Hutsulka” rendering.

ПОРІВНЯЛЬНИЙ АНАЛІЗ „ГУЦУЛКИ” У ВИКОНАВСЬКИХ ІНТЕРПРЕТАЦІЯХ ДВОХ СКРИПАЛІВ КОСМАЦЬКО- БРУСТУРСЬКОЇ ТРАДИЦІЇ

In the offered article, a comparative analysis of two performing versions of the wedding ceremonial dance “Hutsulka”, dominant in the Eastern Carpathians region of Ukraine has been made, with outstanding violinists-capellists, which, based on traditions and their own virtuoso style, developed this dance genre due to the accumulation of stable and mobile elements of melo-, rhythm- and form-making, as well as the establishment of aesthetics of regional styles. The material for the study was the audio version of the “Hutsulka” recorded on the basis of the performance of two violinists representing the region of Kosmach- Brusturiv villages tradition – Kyrylo Lyndiuk (“Vityshyn”, 1929–2003) (recorded by prof. Bogdan Lukaniuk in 1991) and Ivan Sokoliuk (born in 1944; Musician's own recording of 2017) – and transcribed by the author of the article. The performance of “Hutsulka” by each violinist is characteristic of common and distinctive features concerning the formation of the variative composition, the thematic material (respectively, 29 and 43 themes of kolomyika, kozachok and voloshka bases), tonality and rhythmic structuring, individual interpretation of ornamentation, which is collectively connected with artistic orientation on certain artistic and performing directions, presented by iconic musicians-predecessors. The formal features of the Hutsulka composition depends on scenery where it is performed (1); the tonality outline determined by established regional tradition (2), and rhythmic outline, by the overall style, varyation technics, updating and ornamentation of rhythmic formulas, characteristic of the personal manner and style of the performer (3). Ornamentation, as the essence of the performing style of any Hutsul musician, in K. “Vityshyn” is characterized by intense interweaving of short melismatic legal groups and non-legal figurations within melodic line and texture. I. Sokoliuk 166 enriches the linear movement with prolonged melismatic groups and rhythm- intonational and figurational turns that decorate it and amplify the expression of dance overall sonority. In performing aesthetics of K. Lyndiuk prevails an acute articulation of melodic expressiveness with accented and often pointed rhythmic patterns that provides representative-temperamental virtuosity. For strategic performance aesthetics of I. Sokoliuk, rich in virtuosic expressiveness, is characterized by choral and transparent ringing articulation in the context of “stratum”-development creation of the whole large-scale virtuoso composition. Each version reveals individual compositional, improvised, techno-performing, emotional as well as aesthetic mind of their creators. All these qualities, formed by both musicians in a single tradition and expressed in related kolomyika and kozachok-voloshka tunes, present the decision of developmental, composite, rhythmic, intonational, articulation, tempo and many other aspects of style, characteristic of folk violinists – soloists and capellists, inherent to each of them, in their performing manner, evident in “Hutsulka” rendering.

The cultural eclecticism of globalism: perspectives from Russia

The paper deals with the reflection of the processes of globalization and multiculturalism in the guise of modern cities. According to the authors of the article, graffiti is a purely urban phenomenon. Modern graffiti is a palette of emotions, feelings, expressive existence, peculiar to the young people, and the modern city is the focus of mad speeds. In this focus of speed collides the seething thirst for life of the youth and the phenomenon of alienation. The dialectic of this contradiction determines the emergence and development of graffiti as a form of self-expression shaped as street art, or as it is sometimes called, the underground art. Graffiti as a component of street culture expresses the trends of globalization and its subjects, methods, and formats of performance: they are universal and do not have national peculiarities. In this case, the subject line of graffiti is a reflection of the specific features of culture, ideology, history, and traditions, that is, the mentality of a particular society. The authors of the paper present the lack of a single methodological, artistic and ideological orientation as cultural eclecticism. The article represents graffiti as a deviation, however, not as illegal acts but as an orientation of an individual to creative activity, as an act of self-actualization. In the study of graffiti as a socio-cultural phenomenon, parallels are drawn with the art of graffiti in various countries of the world, considering it as a form of multicultural integration. In modern interpretation, graffiti should be viewed as a kind of art, since it is artistic and aesthetic personal reflection of the personality, and creative form of its expression. Graffiti as an extra-national and meta-social phenomenon is simultaneously a manifestation of universalism of the global socio-cultural tendencies, and an expression of eclecticism of the new forms of the modern city. The main cultural values are outside of time. Traditional values, modified and mutated, are updated in accordance with trends.

Sound-imaging and coloring in piano miniatures by Mykola Kolessa

The piano creativity of the famous Ukrainian artist ─ Mykola Kolessa has been considered through the prism of stylistic features of composer’s writing, sound-imaging artistic orientation, picturesque elements of musical language and principles of its pictorial component. The dominant features of the individual creative thinking and style of the composer has been discovered, the way of their formation, influenced by the personal philosophical and aesthetic-artistic interests of the Lviv artist, has been considered: an extraordinary admiration for his national folklore (in particular Hutsul), visual arts (especially painting) and Ukrainian art in general. Relying on the materials of many existing research works, in which the aspect of the problems of musical painting is considered, a number of compositions by Mykola Kolessa written for piano have been analyzed in the present article. In particular, such works as: suite cycle “Little things”, the program suite “Portraits of Hutsul Region”, sonatina, four preludes (“Fantastic”, “Autumn”, “Hutsul”, “About Dovbush”), the cycle “Passacaglia, Scherzo and Fugue”. The general sound-imaging direction of the piano music of M. Kolessa and the pictorial and visual elements of the composer’s artistic thinking has been revealed through the analysis in the study of the peculiarities of the musical language, the specifics of the rhythmicintonational structures, the type of the textual presentation of the material, the mode-tonal aspect, the genre component and, most of all, its software vector. The obtained results are valuable not only from the point of view of musicology, but also first of all, for the development of the art of piano interpretation of Ukrainian music in direct interaction with its practical orientation.

The Jazz Institutes in Graz

In 1965, the Institute for Jazz at the University of Music and Performing Arts (then the Academy of Music) in Graz started to build a reputation as a pioneer in jazz education in Europe. Upon the establishment of a separate Institute for Jazz Research in 1971, the institution was able to position itself as an academic centre with a focus on both artistic practice and the academic study of jazz; as such, it also inspired other jazz programmes across Central Europe. This article discusses the determining factors and socio-cultural conditions for the development of the Jazz Institutes in Graz and analyses aspects of professionalisation, internationalisation and outreach activities both local and international. The leading personalities in the institution's history are introduced, and their activities from 1965 to 1980 are described. After an overview of the Institute's current state, the article discusses internal and external conflicts and criticism of the Institute's activities, artistic orientation and status. Research for this article was compiled as part of the FWF research project ‘Jazz & the City: Identity of a Capital of Jazz', conducted at the University of Music and Performing Arts in Graz from 2011 to 2013 under Prof. Dr Franz Kerschbaumer

Smetana and Shakespeare

Abstract This study deals with Bedrich Smetanas encounters with the legacy of William Shakespeare. The introduction is devoted to Smetana’s participation at the celebration of Shakespeare’s 300th birthday in 1864, at which he took part in the organization and dramaturgy as a conductor and a composer. The next part deals with the possible sources of Smetana’s knowledge of Shakespeare’s plays, followed by compositions inspired by specific dramas. It describes the circumstances of the genesis of the symphonic poem Richard III and of the piano composition Macbeth and Smetana’s conception of those works’ subject matter in relation to the shift of his artistic orientation towards programme music during his stay in Sweden. Above all, on the basis of their exchanged correspondence, the study then examines the ups and downs of Smetana’s relationship with the Eliska Krásnohorská and the composer’s unfinished opera Viola based on Twelfth Night.

المزاوجة بین المهارات التقنیة ومهارات التفکیر الناقد کمدخل لتنمیة المهارات الادراکیة فی برامج التربیة الفنیة المعاصرة Combining Technological Skills and Critical Thinking Skills as an Approach to enrich the perceptual skills in Contemporary Art Education programs

هدفت الدراسة إلى تحديد الأبعاد المتعددة لمهارات التفکير الناقد، کذلک تحديد أدوات التعليم الرقمية اللازمة لطلاب التربية الفنية المرتبطة بمهارات استخدام التکنولوجيا والاتصال في العملية التعليمية؛ بهدف تصميم برنامج قائم على المزاوجة بين المهارات التقنية ومهارات التفکيرالناقد کمدخل لتنمية المهارات الادراکية ذات الصلة بفعالية برامج التربية الفنية المعاصرة. استخدم االباحث المنهج الوصفي التحليلي، عند استعراض الإطار النظري لادبيات الدراسة، والمنهج شبه التجريبي عند تطبيق الأدوات البحثية الخاصة بالدراسة. تشکلت أداة البحث من إستبانة تناولت المحاور الرئيسية لمفردات المزاوجة بين المهارات التقنية ومهارات التفکير الناقد، من خلال استطلاع رأي الخبراء والمتخصصين في مجال تدريس برامج التربية الفنية حول تحديد قائمة المهارات التقنية اللازمة لطلاب التربية الفنية في إطار منظومة تنمية المهارات الادراکية بما يدعم الشق التشکيلي في العملية التعليمية. The aim of the study is to identify the multiple dimensions of critical thinking skills, as well as to identify the digital learning tools needed for students of art education associated with the skills of using technology and communication in the educational process; to design a program based on the combination of technical skills and critical thinking skills as an input to the development of cognitive skills relevant to the effectiveness of contemporary art education programs. The researcher used the analytical descriptive approach, when reviewing the theoretical framework of the study literature, and the semi-empirical approach in applying the research tools for the study. The research tool consisted of a questionnaire that dealt with the main themes of the vocabulary of the combination of technical skills and critical thinking skills through a survey of experts and specialists in the field of teaching art education programs, to identifying the list of technical skills required for students of art education in the framework of the cognitive skills development system to support the artistic Orientation for the Education process.

Poem Without A Hero in the Context of Anna Akhmatova’s Notebooks

This article analyses the place of the Poem without a Hero by Anna Akhmatova — an unfinished work created over the last 25 years of the poet’s life — in the space of her Notebooks written at the time of her work on the last versions of the Poem between the late 1950s and early 1960s. The material and nature of the Notebooks determines the choice of methodology modern scholars employ to study their context: the space of trans-text entries cannot be limited to life or artistic orientation alone which is substantiated by their textological analysis. In line with this idea, the paper discusses how the spontaneity of the recording, fragmentation and juxtaposition of life, art and literary criticism creates a special context of Akhmatova’s Notebooks , illustrating a high degree of dialogism connected with the type of the poet’s artistic consciousness and, consequently, characteristic of all her later works. The text of the Notebooks can only be completed by life itself, as well as the endless variations of the Poem without a Hero , which is the artistic embodiment of Akhmatova’s biography. The result of this research is reflected in several statements related to the presence of the Poem without a Hero in the Notebooks . Among them are the reflections on innovations and place of the Poem in the historical and literary process and the attempt to dictate the “right” vector of research of the Poem without a Hero associated with the decoding of images, establishing its intertextual and genetic relationships, which eventually becomes another means of “grounding” and prose completion of the Poem without a Hero .

Research note: the other side of the stage, revealing compositional differences in Flemish amateur theatre audiences

This research note aims to address the lack of research focused on the audiences of amateur theatre and examines how audiences of artistic- (i.e. participating in festivals with high artistic requirements) and social- (i.e. not participating in those festivals with high artistic requirements) oriented amateur theatre groups differ. This is achieved by performing a quantitative study of eight amateur theatre audiences in Flanders (Belgium). Analyses of 538 standardised questionnaires derived from on-site data collection, show that the audiences of artistic amateur groups significantly differ from the audiences of social-oriented amateur theatre groups. Amateur theatre groups with an explicitly artistic orientation have a significantly younger audience that had participated in other cultural events over the previous six months. They are also often recruited by word of mouth. By contrast, social amateur theatre groups attract a significantly older audience, including those who live in the vicinity.