Creative Aspirations Research Articles

“Why Are They Afraid?” (Interpretation of the Later Piano Work by Valentyn Sylvestrov)

Relevance of the study. Piano works written by the outstanding Ukrainian composer Valentyn Sylvestrov over the past two decades, in their totality, represent a unique phenomenon in Ukrainian and, possibly, world musical culture. Its uniqueness is primarily provided by such obvious properties as a huge volume, genre integrity and stylistic unity. The special requirements of the composer for the performers of these works, the specificity of their prevailing existence not on the concert stage, but in semi-amateur author’s “home” recordings, determine a whole complex of philosophical, musicological, cultural and interpretational problems awaiting their theoretical and practical solutions. The purpose of the study is to reveal the specifics of the performing reception of the later piano work by V. Sylvestrov through the prism of the categories of subjective and objective performance, on the basis of many years of experience in performing the works of the composer by the author of the article. The results and conclusions. Piano music is the quintessence of the composer’s later style, the center of attraction for his creative aspirations. Despite the seeming simplicity and the absence of technical virtuoso tasks, the later piano work of V. Sylvestrov poses certain interpretation problems for the pianist. The composer, with the help of numerous instructions, determines the special pronunciation of the musical text, which is characterized by the obligation for the performer and stylistic constancy. In bagatelles — these musical moments and insights — the subjectivity of the lyrical expression is achieved by the total restriction of the performing freedom, which is traditionally the defining quality of the subjective performing style. V. Sylvestrov’s careful writing of all performing designations deprives the pianist of the possibility of his own subjective reading. The composer objectifies the subjective, objectifies the implicit essence of pianistic art in an effort to stop the musical moments-insights presented to him from above.

THE MOST IMPORTANT ASPECTS IN IMPLEMENTING THE YOUTH POLICY IN THE CHUVASH REPUBLIC: 1990s – EARLY 2000s

The experience of implementing the state youth policy on the scale of individual subjects of the country, which has its own regional specifics and ethno-confessional features, is of scientific interest. In this regard, the article examines individual pages of implementing the youth policy in the Chuvash Republic (ChR) in the 1990s – early 2000s on the basis of diverse sources and research literature. Separately, the author focuses on some aspects of educational work, creative self-realization of young people and student self-government. The article provides information on the state policy formation, which is reflected in the adoption of a number of laws and regulations governing its activities. It is noted that in order to directly implement the youth policy on the ground, state and municipal government bodies were created to address the issues of the younger generation. As a result, the Ministry of Education and Youth Policy of the Chuvash Republic became the main authority in this area of work, which became the legal successor of the Ministry of Education of the Chuvash Republic and the State Committee for Youth Affairs of the Republic. As a result, the author comes to the conclusion that in the 1990s – early 2000s, the educational institutions of the republic developed an independent system of work with the student community, which was reflected in the emergence of student councils, trade union committees, clubs, scientific societies. Their main task was to organize leisure activities for young people in order to improve their intellectual and creative level. The developed set of measures in the form of state youth awards of Chuvashia, as well as scholarships for representatives of the youth and students of the Republic for special creative aspiration created conditions for the selection and further creative self-expression of talented young people.

Becoming an artist and sharing my story

Accessible Summary Lisa Scott became an artist after she joined a supported studio in Sydney, Australia. The studio is like her second family, and the staff have always told her ‘you can do this’. Lisa is proud that she is an artist and likes being able to share her work. Lisa made an artwork about her life story and some big changes she has experienced. AbstractBackgroundOver 10 years ago, Lisa Scott first began making art at a studio in Sydney that supports people with intellectual disability to realise their creative ambitions. In this article, we consider what it has meant for Lisa to become an artist and, in the process, share the story of other big changes in her life.MethodsDuring audio‐recorded conversations, we discussed Lisa’s life story and the role of her creative practice within it. We worked together to write about some of the things we discussed.FindingsBecoming an artist has been an important transition for Lisa. With the support of staff at the studio, she has realised what she is capable of, and so have other people—from her family to complete strangers—who all value her work. Through her art, Lisa has been able to find personal relief and reflect on big changes in her life, including the loss of her mum. In a dress hand‐stitched with words from her journals, she has explored another way of sharing her story.ConclusionsArt at its best forges connections between people. Lisa’s art and life are evidence of this.

Running in everyday life and festive culture of the Renaissance and the Modern Age

The subject of this research is determination of the peculiarities of running as a type of activity in the sociocultural situation of the Renaissance and the Modern Age of the Old and New World. The relevance of studying the socially important aspects of running in everyday life and festive, carnival culture of the XV – XIX centuries is substantiated by the fact that namely this period marks the onset of mental requests and revival of physical practices, which in 1896 would become the heart of the First Olympic Games, the beginning and culmination of which were the athletic competitions. The ancient ideal of kalokagathia at this time is instilled with the ideas of self-sufficiency and self-projectivity of a person, whose creative aspirations equally captivate the spirit and the body. Running develops physical and mental qualities that broaden human capabilities, being that instrument for existential growth through overcoming the boundaries of physical and spiritual “normality”, conditioned by the stereotypes and norms of everyday life. The author views running from the perspective of culturological concepts of “everyday life”, “festivity”, “carnival”, as well as the binary opposition sacred/profane. The fields of application of the acquired results include social philosophy, philosophical anthropology, and philosophy of sports. The novelty of this research consists in the interpretation of endurance running as an existential measurement of everyday life, the method of communication between different types of communities and population groups, and formation of the prototype of a “cultural body” of that time. Running is examined as a type of activity that is characteristic mostly to the lower, marginal social classes. Participation in the city festival in the format of a “carnival” running was a way to integrate into society, a manifestation of collective solidarity. Their buffoonery running distracted the audience from the everyday routine, becoming its counterpoint. The author also determines the contribution of the upper social classes to the development of running practices d: economic (funding of professional runners and material reward for the non-professional winners of the city festivals); practical (amateur running or other athletic practices as a component of a gentleman's everyday life); ideological (Renaissance humanists assumed that physical activity is a non-religious way to overcome time through maintaining physical well-being).

How the Pandemic Changed Theater

How the Pandemic Changed Theater Michael R. Jackson (bio) and Lileana Blain-Cruz (bio) In 2019, michael r. jackson's A Strange Loop was the first musical by a Black writer to win the Pulitzer Prize for Drama. The play dramatizes the inner life of a queer Black musicaltheater writer named Usher, who works as an usher at a Broadway theater and is struggling to write his own metafictional musical. The other cast members personify his "Thoughts" as he wrestles with his dismal job, his creative ambitions, and his alternatingly loving and homophobic family. Lileana Blain-Cruz is the current resident director of Lincoln Center Theater. Her directing credits include Anatomy of a Suicide at Atlantic Theater Company and Marys Seacole at LCT3, for [End Page 162] which she won an Obie Award. Blain-Cruz is currently directing Jackson's newest musical, White Girl in Danger, which excavates the experience of a young Black woman named Keesha living in a fictional "soap opera town" called Allwhite. After years of being relegated to the town's "Blackground," where she is forced to perform stock roles reserved for Black characters, Keesha refashions herself as a protagonist by appropriating the narratives of the white girls around her. White Girl in Danger, like A Strange Loop, juxtaposes bright, earwormy music with complex social commentary on race, gender, and representation. Development of White Girl in Danger proceeded during the pandemic; throughout, Jackson and Blain-Cruz spoke extensively about unconventional narratives and the future of theater. In late August, over Zoom, the two artists discussed epic stories, the economics of working in theater, and their dreams for cultural change. Their conversation has been edited for style and clarity. —the editors lileana blain-cruz I've been feeling particularly attuned to the idea of "liveness" after having lived inside a pandemic bubble alone for so long. What does it mean to be in the presence of other human beings in the midst of story? What stories are speaking to us right now, creating a reverberation of the spirit? If theater is a spiritual and a civic practice that requires an act of gathering, what are we gathering about? When the stakes of gathering now are so high—when doing so can actually risk death—then why am I really here? What is the importance of this story that needs to be told? When I enjoy my experiences in the theater, I feel all those questions reverberating. When I walked into Playwrights Horizons to see A Strange Loop in 2019, my jaw dropped. It was two hours of being flooded and overwhelmed: by my sensory experience, my tracking of character and thought and argument, my emotions around family and relationships, my core desires and needs as a [End Page 163] human being. The musical posed this fundamental question: What does it mean to be an artist, to strive against seemingly impossible odds? What was truly remarkable about the show was watching a consciousness laid bare—completely uncensored, hilarious, ugly, messy, vulnerable—and in that exposure being also completely free. The ideals of liveness and theater activate us on all of those different levels of experience at once. michael r. jackson I feel so gratified to hear that said out loud. When I found out that I had the opportunity to do A Strange Loop at Playwrights Horizons in association with Page 73 Productions, I didn't know when I'd ever get the mic again to do something like it. Because who knows when there would be another opportunity to see a high-profile Black queer musical by a Black musical-theater writer? That doesn't happen all the time. If I and Stephen Brackett, Raja Feather Kelly, and Rona Siddiqui, the core creative team, were going to do it, we had to make it count. That meant taking nothing about the show or its production for granted. Usher's story had to be interrogated and rehearsed with open hearts and minds. We also had to be fearless about what the show was saying and doing at every turn. Coming out of or continuing through the pandemic, my mission statement now is that life and time are...

Surikov and Konchalovsky: closest of kin

Vasily Surikov’s and Piotr Konchalovsky’s kinship, the kinship of representatives of different generations of Russian art and various creative aspirations, is considered in the aspect of creative interconnections and in the context of the cultural processes of the early 20th century. Here it should be remembered their similar modus vivendi, and joint trips to Siberia, Surikovʼs homeland, to Krasnoyarsk, and also to Europe – Germany, or France, Spain; common views on classics; their joint work at the art studio of H. Anglada Camarasa in Paris and their sketches done while traveling.

Fraternelle mélancolie: Melville et Hawthorne, une passion

Fraternelle mélancolie: Melville et Hawthorne, une passion

Философские основания фундаментальной антропологии Рене Жирара

Rene Girard (1923–2015) – French philosopher, professor of Stanford University, the member of Acadamie Francaise, the author of numerous works, some of which have recently become accessible to the Russian audience. His most popular books: "Resurrection from the Underground", "Violence and the Sacred", "Things Hidden since the Foundation of the World", "Job, the Victim of His People", "I See Satan Fall Like Lightning", "The Scapegoat". However, Rene Girard's conceptual heritage has not been properly appreciated by philosophers due to the diversity of creative aspirations of the thinker. Most often, he is called a professional philologist, religious scholar, cultural scientist, and his work as an innovator in the field of social and humanitarian sciences is associated with the creation of fundamental anthropology and the theory of culture based on it. Studying the works of Rene Girard is an exciting activity, supposing the immersion in the literary texts and biblical stories analyzed by him. These texts serve the author as a basis for solving the questions of vital importance for human existence and being. The search for answers to vital questions has always concerned both philosophers and theologians. Above all those are the questions related to the grasping of spiritual truths. Not always Girard formulated their meaning directly but through the introducing concepts that reveal the deeper aspects of socially directed human actions, providing these actions with a new categorical meaning. Thus, in the book "The Scapegoat", which will be analyzed in the given paper, the philosopher shows that the human ability to perceive own misery as the punishment for the specific misbehavior or sins is just the superficial point of view and it witnesses of the introvert character of the man/woman. But any personal catastrophe is also a sacrifice – precisely such point of view according to the biblical story of Job not only reconciles the man with life circumstances but raises him over them. Girard shows that the search for external causes that explain human misfortunes or catastrophes on a larger scale runs through the entire history of mankind is reflected in literature, historical and cultural monuments from Sophocles to Jesus. This article is devoted to the interpretation of the main conceptual ideas of Girard from the position of philosophical hermeneutics in order to clarify the philosophical foundations of fundamental anthropology.

Инструментарий узбекской музыке:Исторический экскурс и современность

Многим известно, что вопросами происхождения, функционирования и взаимодействия музыкальных инструментов занимается специальная наука органология. В числе её устоявшихся правил считается, что инструмент - важнейшая опора музыканта. Это в известном смысле напарник и спутник исполнителя в его творческих устремлениях, надежная основа импровизации, источник вдохновения и фантазии.
 Особенно велико значение музыкальных инструментов в условиях бесписьменной традиции. Тут, помимо всего, музыкальные инструменты выступают своеобразными фиксаторами устоявшихся норм устных традиций.
 Не случайно система нотописи в классической музыке Востока формировалась как табулатура для господствующего в своей эпохе инструмента, например, табулатура для уда XIII-XV вв., хорезмская танбурная табулатура XIX века. С помощью инструмента объяснялись ладовые и ритмические системы, принципы строения вокальных и инструментальных мелодий. Недаром говорят, что бухарский танбур – ключ к системе макомата, тар – олицетворение азербайджано-иранских мугамов и дастгяхов, кашгарский танбур (иной мензуры и принципов исполнения, нежели бухарский) ведущий инструмент уйгурских мукамов.
 Формы и конструкции инструментов – результат вековых поисков музыкантов совершенства тембро-акустических возможностей, приспособление к себе орудий своей профессии. А звукоряды, устоявшихся на них – это тоже результат естественного отбора не одного поколения музыкантов-исполнителей и слушателей, словом, материальное воплощение этапов истории музыкальной культуры.

КРИТЕРІЇ СФОРМОВАНОСТІ ТВОРЧОГО ПОТЕНЦІАЛУ УЧНІВ ГУМАНІТАРНОЇ ГІМНАЗІЇ

The article considers the criteria of the formation of the creative potential of students of a humanitarian gymnasium: motivational-value, cognitive, personal-reflexive and activity-productive. The content of the motivational and value criterion of the formation of the creative potential of the high school students characterizes the motivation for the development of creative abilities, creative aspirations of the individual and its focus on the basic values of creative activity. It is revealed through the following indicators: focus on creative self-realization, desire to succeed in solving creative research problems, formation of internal motivation for creative activity, need for self-determination, belief in the social significance of creative activity. The content of the cognitive criterion of formation of the the creative potential of the high school students reflects a complex system of characteristics that contains knowledge of the basics of the creative process, patterns of creativity, ability to collect and accumulate information, speed and accuracy of mental operations which are necessary for successful creative activity. The indicators of the cognitive criterion of formation of the creative potential of the students of the humanitarian gymnasium are: flexibility, originality, non-standard thinking, critical thinking, ability to make evaluative judgments, ability to extraordinary associations, intellectual-logical skills, intellectual-heuristic skills, communicative and creative abilities. The personal-reflexive criterion of the formation of the creative potential of the high school students combines in its content interconnected creative qualities and abilities, volitional qualities, positive self-esteem, which ensure effective self-realization. Its indicators are: tolerance for the incomprehensible, positive self-esteem, self-confidence, belief in the possibility of success in creative activities, sociability. The activity-effective criterion of the formation of the creative potential of the students of the humanitarian gymnasium reflects the integrative system of skills. The indicators of the formation of activity-effective criterion of the creative potential: the ability to generate new ideas and implement them in practice, the ability to transfer previously acquired knowledge independently , the skills, ways of working in a new situation, the ability to interact constructively in the collective creative activity.

Lighting of Museums and Art Galleries

A museum is a place where people can explore and learn the past, the present and the future of culture and science. Amongst the other technical systems, the lighting equipment must satisfy a number of requirements. For each project, lighting designers must face challenges in order to encompass the given specifications in a single lighting concept: protection of the artefacts, economic convenience, architectural constraints and, last but not least, the creative ambitions of the artist. This paper analyses the lighting environment of a real art gallery with the aim to identify a satisfactory solution in terms of enjoyment, artefact preservation and energy consumption. By means of a simulation software, suitable general and spot lighting devices are chosen to fulfil the requirements whilst avoiding damages to the artefacts, and lighting parameters are obtained to evaluate the proposed solution. The work shows that advanced LED technologies can be effectively used to modify a museum lighting environment and turn it into the classical gallery archetype.

Творча діяльність Р. Кириченко в контексті сценічної інтеграції народнопісенного виконавства

This publication is an attempt of systematic analysis and classification of stages of creative activity of R. Kyrychenko . At each stage of life in the works of R. Kyrychenko there were significant changes in the sphere of traditional Ukrainian melody, system, harmony, rhythm, texture. The restoration of the Ukrainian musical language by the singer was very diverse both in purpose and scope. Thanks to R. Kyrychenko 's creativity the interest in the colorfulness of the sound, sonority increased in varying degrees, dimensions and form, until the emergence of sonorics as a distinctive means of expression was increased. Creative activity of R . Kyrychenko represents a special cultural and artistic phenomenon, both in the system of folk songs performance and in the complex field of genre, as well in the field of stylistic culture of Ukrainian show business. Now researchers are exploring particular aspects of R. Kyrychenko's work, or seeking to summarize existing experiences. The combination of components of general style tendencies of the national music and the visual-lexical system of folklore creates that individual color, by which the work of Raisa Kyrychenko is unique and occupies a worthy place in the musical art of Ukraine. In the third millennium, the creative heritage of the singer entered as a striking phenomenon, enriched with the experience of world music, refracted through the prism of national art and filled with creative aspirations.

Essence of "Political Myth"

In XIX-XX centuries, both origin of the new political myth and its subsequent development were linked to radical changes in the history of mankind. "The Death of God" is the most dangerous result caused by these changes.
 The "ungodly world" is dominated by historical people. In order to change reality, the growth of his creative ambitions increases the risk of his freedom. This reality is evident in Nietzsche's doctrine, where nihilism achieves self-awareness and the will to power is declared to be "the meaning of great politics”.
 In modern analogies of political myth, the theme of the "apriority" of human freedom and the influence of the powerful person (nation, state) are getting more active. Their impact on human masses is quite big. What kind of positive and negative results can we obtain from such deep, comprehensive, and serious challenges? We can find the answers in the necessary conclusions on the topic in literary and philosophical works.
 At the turn of the XIX-XX centuries, Nietzsche’s doctrine gets our attention. With humanistic pathos, he endures time. He aims to solve the puzzles of eternal existence and for this reason he gives meaningful advice to historical man.
 We believe that in modern conditions of technological management of political myth, the paradigm of political myth created by Nietzsche is viable. With this idea we feel a kind of need to pay more attention to the predictions of the genius of the era.

THEATER ART AS A SELF-REALIZATION FORM OF NADDNIPRYANSHCHYNA POLITICAL EMIGRANTS IN VOLYN VOIVODESHIP (1920 – 1930-IES)

The purpose of the article is to analyze the Dnieper (Naddnipryanshchyna) political emigrants’ influence on the Western Volyn region theatrical life: from the mobile theater troupes spread to the VUT creation, which facilitated their adaptation and promoted creative self-realization. The methodology of the research is based on the historical, cultural chronological methods, as well as the analysis and systematization methods, which made it possible to consider Volyn Ukrainian Theater mobile troupes appearance conditions, to trace their relations with the Polish authorities, the repertoire features and the importance of creativity for the national consciousness of the local Ukrainian population. The prosopography method was applied in order to find out the artists’ names. The scientific novelty of the article is the introduction to the scientific circulation of the new archival documents, the interwar periodicals, which made it possible to show the Dnieper (Naddnipryanshchyna) political emigrants ’ influence on the interwar Volyn theatrical life development. The Conclusions . The Ukrainian political emigrants became fully involved in the cultural and artistic activities, realized their talents and skills in the theater and amateur work, after the revolution defeat of 1917 – 1921 in the territory of Volyn Voivodeship. In the first half of the 1920-ies, mobile theaters became a means of embodying the creative aspirations of the artists and the golden opportunity to earn a living. The commencement of the “Volyn experiment” by voivode H. Yuzevskyi, M. Pevnyi’s and other artists, who came from Naddnipryanshchyna relocation to Lutsk caused the VUT establishment, which during the 1930-ies of the XXth century kept the national spirit, Ukrainian traditions, the way of life and culture. The establishment of Bolshevik power in the region in 1939 led to the total control over the cultural life of the region, including the theatrical arts.

Dream Cultures

Dream Cultures

Into the Wood: Dante, Byron and James in “Ravenna”

Approaching James’s 1874/1875 neglected Italian travelogue “Ravenna” as a disguised parable of the difficulties caused by expatriation for an aspiring writer, this article explores how references to Byron and Dante, and their poetic use of the nearby famous wood, the Pineta, position them as exemplars who renew James’s confidence in his creative ambitions; it also proposes that an allusion to Ravenna in The Wings of the Dove infuses the novel with overtones of Dante while revealing the elaborate circuits of James’s imaginative invention.

Концертно-освітня діяльність як засіб формування виконавської майстерності майбутнього вчителя музичного мистецтва

The article analyzes theoretical and practical achievements in the field of concert and educational activity in the process of preparing a future teacher. The scientific works of such scientists as: Lee Danxia, ​​who views performing culture as an integrated personality trait, characterizing a high level of her cultural knowledge; V. Mishchanchuk, who emphasizes the importance of suggestive technology, which means, in essence, the ability to influence, passing it through the prism of his own feelings and influencing the audience; Z. Stukalenko, who analyzes the concert and performing activity as a skill of the performer, which is traditionally perfected in the process of musical and professional preparation. Its task is to identify the creative aspirations of the pet. The article also emphasizes that the formation of performing skills actualizes the issues of creative interaction between the teacher and the student in the process of collective music and grows due to the organic unity of emotional, rational and technical aspects in the sphere of creative performing activity. It is emphasized that concert-performance activity stimulates cognitive interest in studying the general cultural level, professional formation of future teachers, promotes the level of performing skills of teachers and students, and forms multicultural thinking. Attention is drawn to the following features of concert-educational activity in the professional preparation of the future teacher of music art, such as: 1) taking into account the interests of the student's personality and support for the process of self-development of his or her makings; 2) creativity and initiative; 3) orientation to the development of intrinsic motivation to cognitive activity; 4) organization of the process of learning taking into account subject-subject interaction; 5) enjoyment of solving educational tasks and tasks in cooperation with other subjects of pedagogical process; 6) transformation of the content of educational material from the purpose of teaching into a means of development of students' personality; 7) organization of reflection for self-affirmation of personality; orientation to cognitive activity. Prospects for further exploration of this area are the development of methodological recommendations for the development of artistic and aesthetic manifestations of the artistry of a future music teacher.

Public Component of Lang Lang's Music-Performing Style

The relevance of research. The theme of the article covers a complex of modern communicative processes in contemporary musical and performing arts, which are defined as publicity. As an illustration, the work of the Chinese pianist Lang Lang was chosen, which has not been studied scientifically yet.The purpose of the study is to characterize the role and main parameters of publicity in the music-performing style and in other parameters of the creative activity of Lang Lang.Research methodology. In the interpretation of the style of the musician-performer, the author of the article starts from the position of J. Buffon: “Style is the man himself.” This idea is interpreted as follows: style is a person who realizes his natural task in a certain social, vital and creative situation.To clarify observations on the public component of the work of Lang Lang, the performer uses the method of comparative analysis.The main results of the study. A working definition of publicity in musical performance is proposed. The following manifestations of publicity in the music-performing style of Lang Lang are considered: 1. From the perspective of the life and social conditions of the formation and development of Lang Lang, the pianist. 2. In terms of the features of creative aspirations of Lang Lang and the ways of their implementation in musical performance. 3. In the ways a pianist communicates with the public. 4. In the special role of modern mass media. In order to illustrate and concretize these aspects, the creative personalities and the musicperforming arts of G. Sokolov and Lang Lang are compared. The solo concerts of these pianists were selected as musical material for comparison: G. Sokolov, which took place in Paris at the Champs Elysees Theater, and Lang Lang, which took place in the Musikverein Vienna Hall.The general features and differences in the interpretation of the phenomenon and the role of publicity among these pianists are highlighted. Regarding the tradition of performing music of academic tradition, the opposite of the approaches of Lang Lang and G. Sokolov is noted. G. Sokolov traditionally focuses on contact with the listener through the sound of a musical work. Lang Lang, in addition to the sound of music, uses the widest possible range of publicity, including the capabilities of modern media, a variety of musical and stage roles. It is noted that Lang Lang is active in social activities. His special function in the development of mass children's piano education of Chinese children, as well as in the popularization of classical music throughout the world is highlighted.

The Communicative Potential of Musical Expressiveness

This article offers a brief overview of some challenges and paradoxes of contemporary research as well as various social questions related to them. Key problems of consciousness research are stated relating to the scientific work on artificial intelligence development. Due to such ambitious objectives of modern science, there is a special attention to personality sphere, to its emotional sufferings and personal creative aspirations. The proposed theses of research of the communicative and creative possibilities of the musical language, its qualitative differences from the considered potential of verbal semantics give a clear idea that the language of music is directly related to emotional expressiveness and cognitive process stimulation. As a result of such a summary, it becomes obvious that the study of verbal and musical expressive possibilities, their comparative analysis in the realities of cultural and communication tendencies of modernity is not limited to the needs of the sphere of art. The article also addresses communicative possibilities of musical expressiveness in light of the ability of music to convey the flow of personal emotions.The novelty of this article is to substantiate further detailed study of musical expression communication possibilities, which will make personal emotional world accessible, i.e. qualia. In turn, the status of qualia is considered as one of the most acute and widely discussed problems in modern philosophy, since representatives of various fields of science often see it as a key to understanding the nature of consciousness.

Research Creativity and Productivity in Political Science: A Research Agenda for Understanding Alternative Career Paths and Attitudes Toward Professional Work in the Profession

ABSTRACTA growing body of research investigates the factors that enhance the research productivity and creativity of political scientists. This work provides a foundation for future research, but it has not addressed some of the most promising causal hypotheses in the general scientific literature on this topic. This article explicates the latter hypotheses, a typology of scientific career paths that distinguishes how scientific careers vary over time with respect to creative ambitions and achievements, and a research agenda based on the preceding components for investigation of the publication success of political scientists.