Creative Searches Research Articles

Genre and Style Metamorphoses of German Choral Cantata of 18th-19th Centuries

The purpose of the work is to reveal the genre-stylistic and spiritual-content instructions of the German choral cantata and the peculiarities of its existence in the musical-historical tradition of the 18th-19th centuries. The methodology of the work has a complex nature and is based on a combination of the principles of interdisciplinary, historical-typological, hermeneutic, art history and genre-stylistic research methods. The scientific novelty of the work lies in the fact that, for the first time, it offers a generalisation of the poetic-intonational specificity of the German spiritual cantata of the 18th-19th centuries and its genre-stylistic metamorphoses in the specified period. Conclusions. The genre specificity of the German spiritual cantata is determined by its contact with the liturgical practice of the German Protestant church. This genre is directly related to the church sermon and therefore was called "sermon music", "motet", "concert", "dialogue", summarised by the concept of Hauptmusik ("Main music of the day"). The contact of the German spiritual cantata with its Italian analogues and opera did not exclude the presence of original features in it, among which the Protestant chorale, based on traditional for the 18th-19th centuries, dominates. polyphonic forms, on the significant role of the instrumental beginning. An essential feature of the genre can be considered its figurative and semantic focus on the reproduction of the sacred aspects of a person's life path, their spiritual ascent-transformation, interpreted in the context of the instructions of the Lutheran faith. The German romantic cantata, represented in the works of R. Schumann, F. Mendelssohn, R. Wagner, and J. Brahms, on the one hand, reflected a wide genre and style spectrum of the creative searches of the named authors, within the framework of which the cantata was synthesised with the typology of various genres – from chamber a vocal cycle, a leader's play up to an oratorio, a dramatic scene (in the works of R. Schuman). On the other hand, the romantics' appeal to the poetics of the choral cantata symbolised the revival of the German spiritual and musical tradition, summarised by the name of J. S. Bach, which was directly reproduced in the cantata compositions of F. Mendelssohn, R. Wagner ("The Brotherly Meal of the Apostles") and works of Y. Brahms. Despite all the differences in the textual basis of the works of the named authors and their aesthetic guidelines (Y. V. Goethe, M. Horn, T. Moore, paraphrases of biblical texts), their unifying quality is the "memory of the genre", focused on the reproduction of the individual's spiritual path and the high didactic and ethical meaning of their inner transformation.

Synthesis in Alexander Matveyev’s Creative Work

Alexander Matveyev (1878-1960) was an outstanding Russian Soviet sculptor and talented teacher who formed the neoclassical school of Russian sculpture. The amazing integrity and consistency of the master’s creative searches led him to the creation of the clearest and most precise plastic system, distinguished by the striking stylistic unity of the artistic language, internal content, and emotional structure of his images. At the same time, the sculptor’s plastic system was initially devoid of any compromise - it very quickly acquired the features of a qualitatively new phenomenon. While preserving the achievements of impressionism in developing the problem of interaction between sculpture and the light and air environment, Matveyev constantly paid great attention to direct work with material. Alexander Matveyev’s creative work is typologically exceptionally diverse. In monumental and decorative plastic art, the master made a name for himself when designing the Golden Fleece Salon exhibition back in 1902. He also gained experience in the genre of portrait bust, two-figure composition, and relief of various types. Internally, his creative method was determined by the figurative and poetic structure that is so characteristic of Matveyev's works and, in general, of the masters of his circle. It was these characteristics of the sculptor's talent that allowed him to say a fundamentally new word in the sphere of synthesis of sculpture and the enclosing landscape - both urban and natural, both in the sphere of symbolic composition and in the genre of tombstones. The tombstone of his friend and mentor, Viktor Borisov-Musatov, the outstanding painter of the early 20th century, was a true masterpiece of this genre and truly innovative in its figurative structure. His ensemble of New Kuchuk-Koy became an especially outstanding achievement in park sculpture new spatial design. In these compositions, the sculptor practically developed a fundamentally new language of park sculpture and achieved an amazing unity of his creations with the surrounding natural and architectural landscape. The monumental group October and the project of the monument to the soldiers of the Far Eastern Army in Dauriya demonstrate the process of evolution of the master’s own style along the line of developing an increasingly laconic design and moving away from attaching details to a general form and symbolic expressiveness of sculptures. At the same time, Alexander Matveyev’s legacy consists of a huge number of sketches of unrealised monuments to V. Lenin, M. Gorky, M. Lermontov, A. Chekhov, and others.

M. Ravel’s vocal cycle “Chansons madécasses” and its role in the development of French chamber-vocal music of the first half of the twentieth century

Statement of the problem. Chamber vocal genres attracted Ravel throughout his career, from his first opuses (his first song belongs to Op.4) to his last, which was the vocal cycle “Three Songs of Don Quixote to Dulcinea”. The vocal works fully embody the main features of the composer’s style and creative interests. This sphere of Ravel’s work corresponds to the leading trends in the development of chamber vocal genres in the French culture of the twentieth century. At that time, composers had gravitated toward symbolism, elegance and refinement of music expression, the impressionistic reflection of fleeting moments, elusive images of nature or shades of human feelings. The cycle “Chansons madécasses” (“Madagascar Songs”) attracts primarily by a mixture of colonial themes and exoticism, which is realized in a combination of speech expressiveness and musicality, recitative melody and plastic rhythm. The cycle poses a number of difficult tasks for performers, the solution of which lies in the plane of historical accuracy and technical precision. These aspects are examined in the article. Discussion of the historical, social and textual specifics of music and poetry will help to renew the traditions of the cycle’s performance that were formed in the last century. Objectives, methods, and novelty of the research. The purpose of the article is to examine Ravel’s vocal cycle “Chansons madécasses” in the context of the development of French chamber music of the first half of the twentieth century, with an emphasis on content and stylistics. Theoretical analysis and systematization of scientific sources on the topic helped to outline certain traditions of musicological presenting the cycle “Chansons madécasses; historical and comparative research methods have made it possible to consider the historical and cultural context of the poetic component of the cycle –“poems in prose” by E. Parny. Holistic and comparative musicological analysis contributed to the coverage of ways of realizing the poetic and musical spaces of the cycle. M. Ravel’s vocal cycle “Chansons madécasses” remains poorly researched in domestic musicology, which determines the scientific novelty of this study. Research results and conclusion. Based on the analysis of M. Ravel’s chamber-vocal cycle, it can be concluded that the composer continues the best traditions of French art with its refined and impressionistic features, while demonstrating an innovative approach to vocal genres. Particularly interesting are his creative searches in recent years, when Ravel reached a new understanding of musical and poetic synthesis. The main features of his chamber music, including vocal cycles, were the daintiness and elegance of the figurative sphere, the refinement of the musical style, the inclination to the recitative manner of vocalization, and elements of sound painting In the cycle “Chansons madécasses” M. Ravel not just embodies the text in music; he tries to make the music itself convey the text. Emotions and conflicts present in the words receive an active dramatic musical embodiment; the erotic play of dynamics and tempos in “Nahandove”, the clash of tonalities in “Aoua!” and the quiet mysterious sounds in “Il est doux” serve as an example of an attempt to achieve a “direct” reproduction of the text in music. Thus, the songs of the cycle “Chansons madécasses” represent the composer’s complex relationship with the very idea of a “voice”. M. Ravel “appropriates” the voice of an exotic “other” in order to address provocative themes that he avoided in the rest of his vocal works; but instead of remaining in this “safe space”, he constantly undermines its stability: avoiding the conventionality of musical exoticism, looking for a strong dramatic support of the text capable of making an impression on the listeners, M. Ravel puts us into a confrontation with the various emotions presented in these songs.

Quranic motifs as the dominant of D. P. Oznobishin’s creative searches

Quranic motifs as the dominant of D. P. Oznobishin’s creative searches

Инцидент казанской Соборной мечети: к истории одного архитектурного проекта

The building of the Kazan Cathedral Mosque is still a promising architectural project, but it already has its own history, which includes the 2022 international sketch competition, held within the anniversary of the adoption of Islam in the Volga region, the struggle for the preservation of the Kyrlay park, where the foundation stone was laid, the decision to move the construction site, the introduction of new projects out‐of‐competition in 2023, and the discussion of one of such projects, unexpectedly “announced approved by the authorities”, with the Muslim religious leaders of Tatarstan... The protracted design of such an iconic object allows evaluating the starting points, the development direction, and problems of modern mosque architecture in Russia, the searches for the image of a religious building and the options to combine the traditional and the modern in Muslim architecture. The fate of the Kazan Cathedral Mosque is comparable to the “Kocatepe mosque incident” — the construction of the Ankara Cathedral Mosque, which for decades consolidated the neo‐Ottoman trend in Muslim architecture. The project owners of the Kazan mosque declared rejection of the tiresome adapted neo‐Ottoman model, which substituted the search for truly national forms. However, architectural bureaus are not yet ready to propose projects that would equally satisfy the requirements for the preservation of the traditional and the compliance with the trends of modern architecture, and often replace creative searches with combinations of quotations of famous monuments or elements of earlier competition projects.

Systematization of public centers design methodology

The article deals with the issue of systematization of the development of project solutions of public complexes based on the analysis of their functional and planning structure and constituent elements. The author systematizes his long-term scientific research and project practice using theoretical sources, in the part of the formation of the architecture of public centers of large cities; conclusions are drawn regarding promising models for optimizing their structure.The nature of the interaction of elements in the modular system of the layout of public complexes is highlighted. A promising methodology for designing multifunctional complexes in an integrated modular system has been formulated. Conclusions were made regarding the possibility of the influence of such methods on the practice of designing public complexes.In this article, provision of "end-to-end" unification and "open" typification of block modules allows to expand the possibilities of alternative search for the most rational project solutions of large multi-functional complexes - public centers. This makes it possible to significantly facilitate the process of designing such objects, shifts the emphasis of creative searches from the layout of the internal structure and technology to the solution of architectural plastic and artistic tasks of the formation of urban ensembles of the center.The nomenclature of residential and public centers of large cities, as the main structural nodes of the city in unity with the adjacent system of settlements, is given. Conclusions are drawn on possible directions of unification and modular coordination of the constituent elements of multifunctional complexes - public centers.

Vyatka priest, educator and methodist teacher N. N. Blinov

Introduction. One of the active processes of humanization of education in modern conditions is an appeal to the best achievements of the past, to the works of representatives of Russian, including regional pedagogy, whose creative searches were permeated with the ideas of humanism, concern for the upbringing and education of a person. Genuine interest is aroused by the multifaceted pedagogical and methodological activities of the famous Vyatka priest, zemstvo figure and methodist teacher N. N. Blinov (1839-1917), who clearly manifested himself as a practical teacher, a methodologist of primary education at the All-Russian level, the author of numerous educational books, an educator and researcher of the history of the Udmurt people. Materials and methods. The author uses as research methods: analysis of historical and pedagogical literature, biographical and historical methods, axiological (value) approach to the study of historical and pedagogical material. In his work, the author used a number of publications by foreign and Russian authors. Results. The period of activity of N. N. Blinov coincided with the time of activation of the development of education in Russia. In the Russian provinces, local methodologists in the field of education actively worked, – authors of textbooks and the first alphabets, mainly for the so–called "small", i.e. non-Russian, peoples. Blinov was one of the most prominent representatives of the Russian regional enlightenment in the second half of the XIX – first two decades of the XX centuries. His activities were of a multilateral nature. Russian Russian was the author of textbooks for Russian and Udmurt children, the organizer of rural schools, and his local history work was highly appreciated by the Russian Imperial Geographical Society. Especially his books "Learning – light" and the first Udmurt alphabet "Lydzon" should be highlighted. Discussion. In N. N. Blinov's method of teaching reading, the presence of such a new element in literacy teaching for that time as a clearly established and filled with concrete content step-by-step, currently known as "algorithmization", is original and valuable. At the same time, the desire to establish strict stages in the assimilation of letters was inevitably accompanied by the need to introduce words whose meaning was still unknown to children. Conclusion. Blinov's fruitful scientific, methodological and practical pedagogical activity, his local history work are a vivid phenomenon in the history of Russian provincial education. His methodological views remain relevant up to the present time. Vyatka educator contributed to the development of Udmurt culture and literature by being the author of original ethnographic, dramatic, historical and biographical works. His turbulent, eventful life deserves further study, as well as his numerous works.

Postmodernist collage as a method for regeneration of public spaces

Today's times are characterized by an unprecedented emancipation of creative searches, liberation from canons and stereotypes, a fundamental rejection of the traditions of creativity according to one model, a transition to creativity by «intuition» based on the conditions of a specific order, location, capabilities and desires. The modern architect is preoccupied with the creative search for his «element A» (according to K. Malevich), his creative method, which could indicate the path to creating a new form, a new artistic image. The individualistic principle, together with the desire to achieve unique originality in each new work, and at the same time the desire to accommodate cultural and artistic archetypes of various other eras in one volume-spatial architectural object or in a fragment of the urban architectural environment, adding new reinvented meanings to them and through this achieving architectural and artistic integrity directs us to search for new methods of creating diversity and uniqueness. The new method of «Postmodern Collage» now provides such creative possibilities.

Postmodernist collage as a method for regeneration of public spaces

Today's times are characterized by an unprecedented emancipation of creative searches, liberation from canons and stereotypes, a fundamental rejection of the traditions of creativity according to one model, a transition to creativity by «intuition» based on the conditions of a specific order, location, capabilities and desires. The modern architect is preoccupied with the creative search for his «element A» (according to K. Malevich), his creative method, which could indicate the path to creating a new form, a new artistic image. The individualistic principle, together with the desire to achieve unique originality in each new work, and at the same time the desire to accommodate cultural and artistic archetypes of various other eras in one volume-spatial architectural object or in a fragment of the urban architectural environment, adding new reinvented meanings to them and through this achieving architectural and artistic integrity directs us to search for new methods of creating diversity and uniqueness. The new method of «Postmodern Collage» now provides such creative possibilities.

Синтез европейских и национальных традиций в поэзии Дины Мамчуевой

The article examines the creative work of the famous Karachay-Balkarian poetess Dina Mamchuyeva, whose innovation has not been sufficiently studied, despite the fact that she has made a great contribution to the development of national poetic structures and has long occupied a place on the literary Olympus of the North Caucasus region. D. Mamchuyeva’s innovation manifested itself both in the subject matter of her poems and in poetics, primarily in introducing a new genre into Karachay-Balkarian poetry, i.e., the sonnet genre in its original form, as well as in giving new features to the classic Karachay-Balkarian versification. The research aims to identify the features of D. Mamchuyeva’s versification, their conditionality by new cultural circumstances – the widespread publication of Russian translations of Shakespeare’s works and works by other poets who adhered to the classical sonnet, which has helped many authors to hone their skills. The scientific novelty of the research is seen in the fact that the article is the first to shed light on the complex of poetic techniques used by D. Mamchuyeva in verse organization, her preference to the sonnet genre and at the same time commitment to the Karachay-Balkarian system of versification, which reflects the specificity of her creative work. The research findings showed the relevance of the topic, revealed the richness and originality of the author’s poetic skill. The chosen research perspective demonstrated its importance for understanding D. Mamchuyeva’s creative searches in the field of versification and its significance for understanding the formal and semantic structures of the author’s poetics, as well as the need for further study of the author’s innovations in national literature, primarily in poetry.

ENCAUSTIC AS AN ANCIENT PAINTING TECHNIQUE: A FAILING TRADITION

The article highlights the peculiarities of the encaustic painting technique and the main problems of preserving this unique technique in the modern art of Ukraine. The meaning of the concept of “encaustic” is revealed. Considerable attention is paid to the technological varieties of encaustic as an ancient pictorial art. Thus, ancient authors wrote about the expressiveness and beauty of the encaustic technique, but, at the same time, “wax painting of the ancients” turned out to be one of the mysterious techniques. First of all, this is due to the fact that very few encaustic works have survived, and the description of technologies was almost absent. Thus, after studying the “Fayum portraits” found in 1887 in Middle Egypt (the Fayum oasis), it was possible to determine that the funerary masks were made in the encaustic technique. Mentions of encaustic works date back to the ancient literature of the times of imperial Rome. During the Renaissance, even Leonardo da Vinci tried to unravel the mystery of encaustic painting, but even he had very little information about this technology. According to the descriptions, it was necessary to solve a complex technological process, so the masters collected information piece by piece and experimentally implemented this technique. These were the first stages of the revival of encaustic painting, which is also called wax painting, because the basis of encaustic paints was wax. The stability of this painting technique was ensured, in particular, by the presence of various resins, linseed oil and dyes of natural origin in the composition of encaustic paints. These paints were applied layer by layer on special soils under high temperature. The exceptional artistic value of the encaustic technique made it possible to preserve it and gave the prospect of revival thanks to the creative searches of artists of the 1970-1995 years of the 20th century. Painting with wax paints meets all the requirements of modern monumental art along with frescoes and mosaics. Modern construction technologies and materials provide ample opportunities for monumental artists to solve various artistic and plastic tasks related to the application of the encaustic technique. The article also considers the role of encaustic in modern easel and monumental art. The work of modern masters of Ukraine who worked in the encaustic technique is analyzed.

René Espere’s concert pieces: from the composer’s concept to the performance interpretation

Statement of the problem. Under consideration is René Eespere’s piano works created during the period of his maturity. The composer’s work is marked not only by its depth and originality, but also reflects the spiritual wealth and national identity of the Estonian people. Estonian music remains little known in Ukraine, therefore the article proposes to popularize the work of René Eespere, which will contribute to the establishment of cultural communication between Ukraine and Estonia. The research is based on performance experience and scientific analysis of three concert pieces by the composer: “Ludus tactus”, “Alter ego” and “Persona mea”. Analysis of recent research and publications. The article based upon the studies by K. Pappel (1992) and S. Pylypenko (2021, 2023) who highlight René Eespere’s piano works created by him during the period of creative searches (until 1995). Information pertaining to the mature phase of the composer’s career, is derived from various sources: the press materials (Hinn, 2016), interviews (Colucci, 2012), and our personal correspondence with the composer. The theoretical base of the study is formed by the works of Ukrainian musicologists, contributed to the theory of interpretation of musical works (Moskalenko, 2013) and musical communication as an interpretive phenomenon (Nikolaievska, 2021), performance issues (Bezborodko, 2017; Verkina, Bondarenko, Sagalova, & Timofeyeva, 2020; Chernyavska, Ivanova, Timofeyeva, Syriatska, & Mits, 2023), typologies of compositional styles (Serhaniuk, Shapovalova, Shehda, Kazymyriv, & Kolubayev, 2021). Objectives, methods, and novelty of the research. The purpose of the study is to highlight the conceptual aspects of compositional thinking and its embodiment in performance on the example of René Eespere’s three concert pieces for piano. The genre and stylistic, functional and structural, compositional and dramaturgical, as well as interpretive methods were used in the study. The article presents the first theoretical and performance analysis of René Eespere’s concert pieces in the Ukrainian musicological field. Research results and conclusion. The history of creation of works is described; the conceptual principles of compositional and performing thinking are highlighted; the regularities of the musical dramaturgy of each of the opuses were analyzed; a complex of expressive means is revealed; a brief description of the content and a scientific analysis of the works are given. It has been established that the concert piece “Ludus tactus” has significant compositional and performing potential, because the multifaceted author’s idea of the piece requires of flexibility and freedom in its pianistic implementation. The first performance of the piece by Ralf Taal is analyzed, which is of great interest, because the pianist’s artistic and technical skill allows him to find harmony between the author’s idea and his own performance vision of the composition . The piece “Alter ego” is aimed at revealing the artistic possibilities of a pianist, promotes the development of his artistic and emotional thinking, which is demonstrated by Polina Abolimova’s interpretation of the piece, the young performer who skillfully conveys its content aspects, its artistic sophistication. The piece “Persona mea” is the composer’s “small-format self-portrait”, an example of sound self- expression of the artist. The rendition of the piece by famous Estonian pianist Kalle Randalu, analyzed in the article from the point of view of the objectification of the composer’s idea, is a bright example of its interpretation, impeccable in the technical aspect, exceptionally detailed and refined in the sound.

The semantics of the names of Luo Maishuo’s Piano Etudes as the transformation of traditional national images

The semantics of the names of Luo Maishuo’s Piano Etudes as the transformation of traditional national images

Keyboard fantasies by Georg Philip Telemann in the context of stylistic trends of the time

The relevance of the study. It consists of considering the keyboard fantasies TWV 33 by Georg Philipp Telemann in the context of the author's creative searches, as well as of the stylistic trends in German music of the first half of the eighteenth century. The main objective of the study is to identify the main features of Georg Philipp Telemann's compositional style on the example of his 36 fantasies for keyboard. The methodology includes biographical (to highlight the main stages of Telemann's life and work), historical (to find out the evolutionary processes in the culture of the first half of the eighteenth century), genre-stylistic and structural-functional (for a comprehensive analysis of musical works), comparative (to compare Telemann's fantasies with each other and with examples of the genre in the works of his predecessors and contemporaries). 
 Results and conclusions. The cycle of keyboard fantasies TWV 33 by Georg Philipp Telemann is considered as an example of the embodiment of a new stylistic trend in German music of the first half of the eighteenth century. The reflection in these works of the influence of the "mixed taste" trend prevailing at that time is emphasized. The main stages of the formation and development of Telemann's creative guidelines are traced and the factors that directly contributed to the formation of his compositional style are identified. 36 fantasies included in the collection and differentiated by the author into "Italian" and "French" are analyzed. The main differences in their compositional organization and stylistic manner are revealed. On the basis of a detailed analysis of Fantasy No. 28 from the third part, the conclusion is drawn that the composer has a perfect command of the French and Italian styles of writing and their organic combination within one work. The author also points to the reflection in Telemann's keyboard fantasies of the "gallant style" that was formed in the music of the first half of the eighteenth century as opposed to the counterpoint and polyphonic style of the late Baroque. The features of the gallant style in Telemann's cycle TWV 33 are manifested in the elegance of melodic lines richly decorated with melismatics, the involvement of song themes, the dominance of homophonic composition, transparent, mostly two-voice texture, and the syntactic structure of themes by combining a number of small contrasting motifs. It is emphasized that the eighteenth-century understanding of the gallant style as a synonym for the "free style" resonates with the main vector of the evolution of the fantasy genre — from the centuries-old tradition of creating plays of this type within the strict framework of counterpoint writing to the natural manifestations of creative imagination.

Creative Activity of V. Hegamyan in the Context of the Development of the Odesa School of Painting

The purpose of the work is to investigate the key events of the creative life and activity of the Odesa artist of Armenian origin V. Hegamyan, whose creative output left a noticeable mark in the development of the Odesa school of painting in the second half of the 20th – beginning of the 21st centuries. The research methodology is based on the application of methods of analysis, synthesis, art history, historical-chronological approach, which made it possible to find out the substantiated results of the research. The scientific novelty of the work consists in deepening and systematising the study of the work of the famous Ukrainian artist V. Hegamyan in the context of the development of the Odesa glass painting. Conclusions. The work determined that starting from the 1960s, due to the relocation to Odesa, a new stage began in V. Hegamyan’s creative period, which was determined by the new cultural and artistic environment and the creative searches carried out by the artists of that time. The artistic dominants of V. Hegamyan's works were determined by the artist's inherent monumentalism, traditional colour scheme and characteristic plot, composition, and imagery. Over the decades, having absorbed the main trends of the Odesa school of painting, V. Hegamyan formed his own artistic style in art, which consisted of a combination of graphic, pictorial, and monumental techniques. Being at the intersection of Armenian and Ukrainian cultures, V. Hegamyan's works clearly trace the appeal to ethnic, archaic motifs, symbolism, which created a special mythopoetics of his works, imposing double or even triple meanings on them. At the same time, V. Hegamyan's creative life was closely intertwined with his teaching activities; he was the founder of the graphics department at the Odesa pedagogical institute. He brought up a whole pleiad of artists who later became famous not only in Odesa, but also in Ukraine: such famous artists as V. Volkov, V. Zakharchenko, S. Lykov, O. Nedoshytko, Ye. Rakhmanin, V. Riabchenko, O. Roitburd, A. Furlet and others. Thanks to his creative and pedagogical activity, V. Hegamyan wrote a bright page in modern Ukrainian fine art as an original artist who formed a unique system of artistic imagery. Keywords: V. Hegamyan, Odesa school of painting, nonconformism, stylistic trends, artistic and cultural life, intersection of cultures, regional specificity, art, artist's creativity.

Practitioners. east

From the current turbulent and fast-paced century, the 19th and even a part of the 20th centuries look unhurried, steady and full of common sense. The classical order system of proportions and the methods of town-planning tested over the centuries served as a reliable basis for creative searches for new architecture. In the block “Practitioners” we publish rare biographical and analytical materials on the architects of the Russian Far East and Siberia little-known to the general architectural public. It was here where the unity of theory and practice was preserved until the middle of the new twentieth century. Buildings and archival materials of that era show how harmonious and balanced can be the mood of architecture, in which practice is based on a solid foundation of theory. The cultural heritage of the past – from the ancient city plans of the Middle East to the Soviet architecture of the country’s post-war reconstruction period – is a huge and growing asset useful for architecture in its new stage of accelerating development.

Electroacoustic creativity of Boryslav Stronko: philosophy and composing technique

Relevance of the artіcle. Varіous style searches, openness to the latest trends, synthesіzіng the prіncіples of European and Eastern musіcal thіnkіng are the maіn components of the musіcal aesthetіcs of the composer Boryslav Stronko. Hіs unіque perceptіon of the world allowed hіm to form hіs own concept of wanderіng/beіng іn the tіme space of musіc. The theoretіcal іdeas of the composer's dissertation research became the source of his creative searches, in particular, in the fіeld of electroacoustіc musіc. The maіn provіsіons of the dіssertatіon are based on Martіn Heіdegger's concept of four-dіmensional space, and the author proves the prolіficacy of the concept for musіcology. The theory of the thіrd dіmensіon of tіme is complemented by phіlosophіcal concepts of F. Nіetzsche, A. Schopenhauer, O. Spengler, phіlosophy of Vedіc culture, іdeas of synergetіcs, theory of probabіlіty and random processes, and the theory of the space-tіme crystal. The synthesіs of theorіes creates a fertіle ground for creatіng іnnovatіve іdeas for musical works. Together with the latest technologies in the field of electroacoustics and twentіeth-century composіtіon technіques, Boryslav Stronko managed to open up lіmіtless possibilities for detailing the sound and the temporal aspect in the space of electroacoustic works.
 Scientific novelty. The need for musіcologіcal comprehensіon of the new realіtіes of creatіve practісe, popularіzatіon of the works of Ukraіnіan composers, among whom Boryslav Stronko stands out for hіs іnner desіre to compose musіc as hіs own pіcture of the worldvіew, determіnes the relevance and novelty of the study
 The purpose of the artіcle іs to analyze the specіfіcs of the phіlosophіcal concept of B. Stronko's phіlosophіcal concept and to determіne the technіque of creating electroacoustіc composіtіons іn whіch іt іs realіzed.
 The research methodology. To achіeve thіs goal, the followіng research methods were chosen:
 
 іnductіve (for the formatіon of B. Stronko's phіlosophіcal concept from іndіvіdual іdeas that sounded іn іntervіews, prіvate conversatіons, scіentіfіc artіcles, and the composer's dіssertatіon research);
 deductіve (for іdentіfyіng specіfіc features of the concept's embodіment іn certaіn electroacoustіc works);
 comparatіve (to іdentіfy the specіfіcs of the іnterpretatіon of the phіlosophіcal concept and the formatіon of technіque іn each partіcular work);
 systemіc (to form a holіstіc vіew of B. Stronko's creatіve method).
 
 Maіn results and conclusіons. Havіng passed a consіderable way of searchіng for the desіred sound іn acoustіc musіc, Boryslav Stronko came to electroacoustіcs not by chance. Stronko's composіtіonal method, whіch developed under the іnfluence of phіlosophіcal іdeas and modern scіentіfіc theorіes, determіned the maіn features of hіs work. Іt was thanks to the possіbіlіtіes that opened up іn the experіment wіth the nature and propertіes of sound that the composer managed to realіze unique іdeas about musіcal space

Temporal dimensions of the passion narrative in «via crucis» by Franz List and Stefano Vagnini

Relevance of the study. Postmodern genre pluralism, including in sacred musical creativity, has increased the interest of scientists in church genres that have recently been on the margins of musicological science, namely those that were not based on canonical texts, but relied on the paraliturgical tradition. Among them, let us pay attention to the rite of the Way of the Cross (via crucis), which for a long time was in the shadow of canonical genres, but in the period of modernism and especially in postmodern times, due to mobility, it turned out to be relevant for the creative searches of contemporary masters. The first artistic example—«Via crucis» by F. Liszt, created at the end of the 19th century, laid the foundation for the genre of the Way of the Cross, and therefore deserves the primary attention of scientists. No less important are works that not only continue the genre tradition, but also rely on the Lisztian model invariant. In this context, the iconic composition is «Via crucis» by S. Vagnini, written at the turn of the millennium. Both works are connected not only by belonging to the genre invariant, but also by the originality of approaches to the passion narrative underlying the rite, so this aspect is central in the comparative analysis of these compositions that are significant for European religious music.
 The purpose of the article is to reveal the temporal aspect of the deployment of the passion narrative in the compositions «Via crucis» by F. Liszt and S. Vagnini and to elucidate the artistic and dogmatic-theological potential of temporal shifts in the passion narrative.
 The methodological basis of the article are the historical, cultural and comparative methods, which made it possible to single out the Way of the Cross from other passion genres and to carry out its typology. Musical-liturgical and theological-hermeneutic analysis made it possible to identify the features of the embodiment of the passion narrative in the works of «Via crucis» by F. Liszt and S. Vagnini, to prove that temporality as a category outlining the linearity or non-linearity of the storyline deployment can become a factor in the formation of new meanings—artistic and theologicaldogmatic.
 The results and conclusions. A typology of the musical-liturgical genre of the Way of the Cross has been created: a genre invariant (a work of cantata-oratorio type with a developed instrumental and minimized verbal component) and two variants —instrumental and cantata-oratorio with a sprawling and detailed storyline —has been identified. The genre invariant, represented by the work «Via crucis» by F. Liszt (1879) and the modular oratorio of the same name by S. Vagnini (1997), turned out to be the most mobile and open to experiments. Both works are notable for the temporal decision in the unfolding of the passionate narration, which is unconventional for sacred music. F. Liszt violates the linearity of the passionate narrative, based on fourteen episodes of the rite of the Way of the Cross, choosing for a number of parts of his «Via crucis» verbal texts that are temporally inconsistent with the content of the events described. Of particular importance in the composer’s work is the medieval sequence Stabat mater, which serves as a marker of the presence of the Mother of God in the storyline of the Way of the Cross. In «Via crucis» by S. Vagnini, who in his composition focused on Liszt’s work, temporal non-linearity becomes the basis of a parallel storyline of the Mother of God. Temporal shifts and double (parallel) narrativity in the works of F. Liszt and S. Vagnini become a form of conveying theological truths, namely, in a special and visual way they emphasize the role of the Mother of God in the Salvation history.

Features of Culturalaesthetic Narratives of Chinese Hieroglyphics Animations

The purpose of the article is to identify the cultural and aesthetic narratives of animated Chinese characters and determine the directions of their development, as well as to identify the specifics of research on this topic and their integration into the global scientific context. The research methodology is determined by the specifics of the visual component and technological features of hieroglyphic animation works and is based on the application of the comparative and analytical method in combination with descriptive and formal analysis techniques. An important role in this work is given to the analysis and systematisation of scientific literature. The scientific novelty is determined by the analysis of the animated hieroglyph by studying a significant number of works in this area and by considering the Chinese scientific literature in comparison with the world literature in the field of kinetic typography. Conclusions. The Chinese character, as an important symbol of culture, is endowed with a wealth of connotations that allow for a sophisticated interpretation of their meaning and evolution with the help of the latest technologies. Therefore, in the practice of designers, the philosophy of hieroglyphic writing is transferred to digital media. The evolution of the hieroglyph can be traced in modern animation, especially in the creation of educational animation materials. Animation adds a time dimension to a static image and is presented in the form of a certain story, a narrative. It has been found that the creative searches of designers in this field are closely related to the poetry and polysemantics of the Chinese language and are directed to the depths of its history. In addition, some works of Chinese classical animation are closely related to the presence of hieroglyphic forms in animated narratives. The results of the study show that in the theoretical works of Chinese scholars, attention is focused on the preservation and promotion of Chinese culture, including in educational practice. There is also a concentration of technological research.

Lamps by Andrii Bokotey (co-authored) in the interiors of public buildings of the 1970s and 1980s: the first creative experiments with glass

The article deals with the glass lighting compositions by Andriy Bokotey, created in collaboration in 1970-1980 for the interiors of public buildings in the former USSR. The article outlines the historical and socio-cultural prerequisites for changing the chosen medium. First of all, the beginning of the artist's work with glass and his first creative searches in the new material are comprehensively studied. The cause-and-effect relationships of the implemented functional and technological solutions are clarified. The evolution of forms and approaches to the creation of constructive design of lighting systems in the interiors of public buildings of that time is traced. It is determined how customers and architects influenced the implementation of projects. Ten three-dimensional compositions are analysed. The artistic and functional value of the realised objects is outlined. Main objective of the study is to identify the artistic and technical features of the lighting compositions made by the creative team with the participation of Andrii Bokotey and the socio-historical determination of artistic decisions. Methodology: the article uses both general scientific and specific research methods. In particular, analytical, systematic, descriptive, comparative, formal, cultural and historical methods. An interview with the author was also conducted. All the images used and the bibliography of works were provided by Andriy Bokotey from his personal archive for the creation of the research paper. Results and conclusions: Andrii Bokotey is an iconic artist in the field of art glass. His creative achievements are the subject of research by a number of eminent art historians. However, a significant layer of three-dimensional lighting compositions has remained outside their attention. The period of creating lamps in the work of Andrii Bokotey is fruitful and bright, it became a turning point in the choice of the main creative medium, but not dominant, and therefore little studied. For the first time, illustrative materials on this topic are comprehensively published and the author's creative practices are considered in the social context of the time.