Genre Palette Research Articles

“Sonata of Psalms” for two flutes, piano and human voice ad libitum by V. Kaminsky: artistic concept and its realization

The purpose of the article is to reveal the concept of V. Kaminsky’s“Sonata of Psalms” for two flutes, piano and human voice ad libitum, which vividly reflects the underlying image, idea, content, consonant with the voluminous and diverse poetic and spiritual genre palette of the composer’s work. Harmoniously combining the ideas and national spiritual heritage including the ancient traditions of church singing, the composer makes a breakthrough from the present to the past. The restoration of an ancient church tradition is based on the inplication of the 117th Psalm “Praise the Lord…”, the voice becomes the main criterion for the realization of the author’s idea. The work enriches our imagination about his achievements in the field of chamber-instrumental music, where increased attention is paid to the emotional, timbre, dynamic and technical aspects of performance.

The topos of Hutsulshchyna in Yaroslav Barnych’s operetta “Hutsulka Ksenia”

Yaroslav Barnych (1896–1967), whose name after need emigration was erased for a long time from the history of national music, is a bright figure in the Ukrainian musical culture of the middle of the 20th century, a talented composer who was called the “Ukrainian Lehár”, an excellent teacher, a gifted conductor and an active social activist-educator. Among the genre palette of the artist’s works, the operetta genre stands out. Despite the fact that the composer created only four examples of this genre, Ya. Barnych managed to implement revolutionary changes of it and gain the status of “creator of modern Ukrainian operetta”. The operetta “Hutsulka Ksenia”, which fully expresses the main features of the renewed genre, remains the most famous and brightest among his musical and stage compositions. Today, this operetta is performed with great success in many cities of Ukraine and beyond, and the musical and stage heritage of the composer is of great interest to modern musicologists-researchers. The purpose of the article is to identify the signs of the embodiment of traditional Hutsul musical culture in Barnych’s operetta “Hutsulka Ksenia”. The innovativeness of this study consists in involving into the field of domestic musicology of the work by Ya. Barnych thanks to a comprehensive analysis of this operetta carried out for the first time. The means of modernization of this genre in Ukrainian music on its example were traced; the socio-cultural and autobiographical markers were determined, and the specifics of the use of elements of the Hutsul folklore musical tradition in the work was identified. It is concluded that Barnych’s “Hutsulka Ksenia” presents the genre of modern Ukrainian operetta (which is essentially similar to Neo-Viennese operetta), contains certain autobiographical and socio-cultural markers (which allow us to understand the idea of the work), demonstrates the connection of the musical material with the traditions of Hutsul musical culture.

The genre palette of Uzbek opera: from the past to the present

The genre palette of Uzbek opera: from the past to the present

Детская тема на страницах сибирской периодической печати (по материалам газеты "Сибирская жизнь", 1897–1900 гг.)

The article considers literary, journalistic and advertising materials devoted to childhood and children, published in a Siberian pre-revolutionary periodical. At the end of the 19th and beginning of the 20th centuries, the topic of childhood was constantly covered in Russian periodicals, which was connected with the growth in public education, the development of children’s pedagogy, as well as with the general humanization of the public sphere. Texts about children were written not only by the capital’s newspapers, but also by regional newspapers and magazines, which made a great contribution to drawing public attention to the situation of young Russian residents. The aim of this study is to determine the demand for the themes of childhood and the features of their coverage in one of the leading regional newspapers of Russia – Sibirskaya zhizn’, which was published in Tomsk from 1897 to 1919. The newspaper was founded by the famous Siberian businessman and philanthropist Petr Makushin, covered the life of Western and Eastern Siberia, wrote about Russian and foreign events. The average circulation was about 10,000 copies. It is plain to see the scope of this newspaper’s influence over quite a large territory. This study conveys its research through such means as selection of materials, determination and analysis of volumes of materials, identification of main topics of these themes and features of their presentation. The empiric material consists of publications providing insight into themes of childhood in issues of the newspaper Sibirskaya zhizn’ published from November 1897 to December 1900. The main methods of the study were frontal analysis of the newspaper content, complex analysis of the periodical, content analysis, historical-typological and structural-thematic analysis. The author comes to the conclusion that the topic of childhood was in demand by the society, the materials about children were published in every fourth issue of the newspaper, although they were small in volume. The genre palette includes a relatively small number of forms: story, essay, report, note, review, article. The most frequently discussed topics in the newspaper were school, parents, poverty, health, charity, books, and education. In addition, while the literature mainly paints a dramatically negative picture of children’s life, attracting reader’s attention to a social problem, journalism acts as a kind of “counterweight” to it, showing real examples of assistance to children from society’s side. Journalists of the 19th century saw the life of children as extremely difficult, consisting of difficult learning, hard and destructive labor, brutal environment, full of orphanhood and poverty. But Sibirskaya zhizn’ tirelessly stressed that children are fragile, that they need protection, support and care that society can and ought to provide to them.

До питання про порушення стандартів новинного мовлення у телемаратоні «Єдині новини»

The main objective of this study was to find out the situation around the violation of news broadcasting standards of the Telemarathon «Edyni Novyny», as well as to attempt to establish the causes of this phenomenon. Research work involved the use of such methods – observation, the study of empirical material, content analysis, analysis, generalization, descriptive. Among the violations of news broadcasting standards, we distinguish the following: mixing facts and comments, references to dubious sources and the authorship of anonymous opinion, which is associated with non-compliance with the standard of reliability, uniformity of the genre palette, poor representation of cultural and artistic topics. The mixing of facts and opinions leads to a complete loss of essentially new information, blurring of factual fullness, dominance of the spectrum of comments, which means one thing – such news is rather conditional. The high frequency of use of some genres and the low frequency of use of others cause uniformity of news content. Poor presentation of news from the field of culture and art may indicate a stereotype about the organization of material of different thematic orientation. The reasons for violation of standards are superficial understanding by creative employees of TV channels of the basic concepts of news journalism – «fact» and «commentary», unreasonable attempts to express their attitude to the events of the surrounding reality, lack of specialized knowledge on the basic principles of television and radio production, inability to work with sources of information. In general, these reasons are rooted in the low professional level of journalists of the Telemarathon «Edyni Novyny». The results of the study are important for correcting the content of journalism education in general and teaching the basics of television and radio production in particular.

Мир старообрядчества в русском изобразительном искусстве XVIII – первой трети XX вв.

Basing on a review of about 300 works created in the 18th – first third of the 20th centuries, the study presents a chronological and genre-thematic panorama of the development of the Old Believer trend in Russian fine art. It includes portraits, architectural landscapes, historical, genre paintings, book illustrations and sketches of theatrical scenery. The portrait genre is represented by commissioned works depicting real personalities and portrait types reproducing collective images of a diverse Old Believer community. Architectural landscapes captured key Old Believers locations — Vygoleksinskoe community, Rogozhskoye and Preobrazhenskoye cemeteries in Moscow, Pustozersk, Kerzhenets, Karelian necropolises. Historical painters came to the attention of such events as the presentation of new books by Patriarch Nikon, the rejection of newly printed books by Solovetsky monks, a dispute about faith in the Faceted Chamber, and the persecution of Old Believers. A special place is occupied by the images of Boyaryna Morozova and Archpriest Avvakum. Genre painting reflects the way of life of the Old Believers and its connection with the religious picture of the world. Over the course of two centuries, there was a formation and development of interest in the Old Believer theme, which found expression in enriching the genre palette and increasing the number of authors. About 60 artists showed interest in the Old Believers. A special contribution was made by M. Mylnikov, F. Solntsev, V. Perov, S. Miloradovich, V. Surikov, M. Nesterov, F. Malyavin, I. Kulikov, I. Goryushkin-Sorokopudov, B. Kustodiev, V. Kuznetsov, V. Plotnikov. In graphic and pictorial works, Old Believers act as bearers of national culture, adherents of their native antiquity.

Borys Buievskyi: creative portrait on the background of musical processes of the second half of the 20th century

The article is devoted to highlighting the peculiarities of the period of formation of the musical avant-garde in Ukraine in the 60s-80s of the twentieth century. This period was a time of oppression, misunder­standing, bans and repressions of all Ukrainian art by the Soviet au­thorities, and, on the other hand, years of bold compositional searches and the formation of a new musical thinking oriented towards the mu­sical culture of Western Europe, bypassing the established rules and censorship. This period became a new historical milestone in the de­velopment of Ukrainian music, marked by the emergence of names of composers of a different formation and outlook. First of all, this directly concerns the group of composers «Kyiv Avant-Garde», who formed new traditions and laid the foundation for the further development of Ukrainian musical art. Among the well-known composers of that time, a significant place be­longed to the nonconformist composer Borys Buievskyi. The artist's desire to preserve his individuality in spite of the totalitarian, ideologi­cal dogmas of the authorities, to manifest his national essence and consciousness was reflected in his work, which is distinguished by the courage of ideas, relevance of themes and rebellious sound. The arti­cle traces its affiliation with both innovative musical findings and trends of the time and the appeal to the heritage of the past musical culture, its previous achievements, which were embodied in the tech­nique of polystylistics, which became a defining feature of the compos­er's work. The article describes the genre palette, peculiarities of the musical language and forms of his works. The music of the early period of Borys Buievskyi's work is analyzed, which is represented primarily in the works of the vocal genre, namely pop songs. On the example of the ballets «Song of the Blue Sea», «Ustym Karmeliuk», music for ani­mated films and symphonic works, the evolution of the composer's technique and consciousness of the artist, which moved towards deep­ening the themes, bold sound and stylistic combinations, is traced.

“Kuyavian fantasy” by V. Malyszewski in Review of Spiritual and Ethical Instructions of Polish National Revival of the First Half of the XX Century

The purpose of the research is to reveal the poetic and intonation uniqueness of V. Malyszewski's “Kuyavian Fantasy” in the stream of ideas of Polish national revival, actualised in the 20s and 30s of the 20th century. The methodology of the work is based on the intonation concept of music from the perspective of intonation-stylistic, etymological analysis. Analytical-musicological, genre-stylistic, and interdisciplinary approaches were essential for the work, which made it possible to reveal and investigate the genre-intonational nature of V. Malyszewski's “Kuyavian Fantasy” and its correlation with the ideas of Polish national revival at the beginning of the 20th century. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the genre-stylistic specificity of V. Malyszewski's work and its correlation with the historical realities of Polish national state-building and the representation of his ideas in the culture and music of the first half of the 20th century. Conclusions. V. Malyshweski is an outstanding composer, teacher, whose multifaceted activity became a brilliant embodiment of personal Renaissance encyclopedism and creative universalism against the background of an organic synthesis of Slavic cultures, the genesis of which went back to the spiritual-national and religious-ethical guidelines of the Polish-Lithuanian Commonwealth. The latter became relevant during the period of restoration of Polish statehood (1918) against the background of the ideas of Prometheus. “Kuyavian fantasy” by V. Malyshewsky, which combined genre features of fantasy, suite and concert, became an artistic embodiment of the leading ideas of its time, symbolically directed to the ancient instructions of the Slavic world and Polish statehood, which is also evident in the programmatic appeal to the image of Kuyavia as an ancient Polish region; and to the etymological affinity of the name of these lands with ancient Kuyavia, related to ancient Ukrainian territories and Kyiv. “Kuyavian fantasy”, on the one hand, carefully reproduces the genre palette of Kuyaviak both as a regional dance-suite and as an example of Polish dance culture in general. On the other hand, the composer's overcoming of the purely applied role of this dance, which demonstrates the code section of the work, which acquires the characteristics of a majestic hymn to the revived Motherland, is indicative.
 Keywords: the work of V. Malyshewski, “Kuyavian fantasy” by V. Malyshewski, the Polish-Lithuanian Commonwealth, prometheism, polonaise, kuyaviak, mazurka, Polish dance music.

Scientific and Theoretical Basis of the Study of Performing Arts by Kvitka Cisyk

The purpose of the article is to trace the scientific and theoretical basis of the study of the performing arts of the American singer of Ukrainian origin Kvitka Cisyk. The research methodology is based on a comprehensive analysis of scientific literature and sources in this topic, which helps to form a holistic view of the state of scientific development of the problem of Kvitka Cisyk’s performing art. The scientific novelty lies in the holistic substantiation of the scientific and theoretical foundations of the study of Kvitka Cisyk's performing art. Conclusions. Having analysed the scientific and theoretical foundations of the study, the author can state the lack of scientific research on the artistic nature of Kvitka Cisyk's performing work and her special role in Ukrainian musical culture. It has been established that scientific publications in this area are insufficient, therefore, only a few publications by researchers cover certain aspects of her biography, descriptively consider the singer's repertoire focus, sometimes touching upon the problems of the stylistic and genre palette of vocal works, architectonics and specifics of their performance. The source base of the study provides sufficient material for a scientific analysis of the creative figure of Kvitka Cisyk. The representation of Ukrainian song in the process of the singer's performance appears as a way of national self-identification, preservation, and popularisation of national art in a non-ethnic environment. All this actualises the need for a thorough study of the performing creativity of the outstanding American singer of Ukrainian origin Kvitka Cisyk, in the development of national musical culture and art. Key words: Kvitka Cisyk, vocal performance, national art, creativity, Ukrainian song.

CREATION OF UKRAINIAN SONG MAKING IN CREATIVITY UKRAINIAN-POLISH COMPOSITORS PODILLYA OF THE XIX CENTURY (BASED ON THE CREATION OF ANTON KOTSYPINSKY, VICTOR ZENTARSKI AND VLADISLAV ZAREMBA)

The rich song heritage of the Ukrainian people, representing the spiritual treasures of the nation in the world cultural space, had a significant impact on the development of musical culture of the XIX century and the formation of leading music genres in Ukrainian music. The article explores the genre of processing Ukrainian folk songs in the works of Ukrainian composers of Polish origin of the XIX century Anton Kotsipinsky, Victor Zentarsky and Vladуslav Zaremba. The significance of the Ukrainian song as an important source in the formation of the creative heritage of the composers of Podillуa is considered, the main features of piano writing are described on the example of the processing of Ukrainian songs. So, a significant number of piano compositions by Ukrainian composers of Polish origin related to folklore indicate the depth of interest in folk song and dance sources, their relevance in the artistic worldview of artists and the shaping of interethnic relations in the art of this historical era. Special attention in the study is focused on the active composer transformation of Ukrainian song material in the genre of piano processing in the creations of composer and teacher of Polish descent Vladуslav Zaremba (1833–1902), who was born in Dunaevtsі, Podillya province. The piano heritage of Vladyslav Zaremba has its source almost exclusively in Ukrainian folk song, on the basis of which the national tradition of the folk song processing genre was formed. 18 creations by V. I. Zarembas are joined under a common name “Ukrainski melodii” are marked by lyricism and bright melody. The genre palette of folk songs addressed by Vladyslav Zaremba consists of: family and household – “V kintsi hrebli shumliat verby”, “Chy ya v luzi ne kalyna bula”, “Kozak vidizhdzhaie, divchynonka plache”; lirycal – “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Sontse nyzenko, vechir blyzenko”; as well as cossack – “Hei-zhe vy khloptsi, slavni molodtsi”, burlatska – “Zibralysia vsi burlaky”. A separate group of piano works is composed of songs of literary origin: “Povii vitre na Vkrainu” (lyrics by S. Rudansky, music by L. Alexandrova), “Reve ta stohne Dnipr shyrokyi” (lyrics by T. Shevchenko, music by D. Kryzhanovsky), “Cherevykiv nemaie, a muzyka hraie, hraie, zhaliu zavdaie!” (lyrics by T. Shevchenko), “Stoit hora vysokaia” (lyrics by L. Glibova), “De hrim za horamy” (lyrics by M. Petrenko), belonging to the genre of the song romances. Featured piano works by V. Zaremba have the author’s designation for belonging to the “Dumky” genre. Among them – “Sontse nyzenko”, “Oi ziidy, ziidy ty zironka ta vechirniaia”, “Chy ya v luzi ne kalyna bula” and original piano works – “Dumka”, “Chant d'Ukraine” (“Pisnespiv z Ukrainy”). The fact that the Dumka genre spread in the estates of the Polish aristocracy and among Polish philistines since the 1820’s confirms the particular popularity of V. Zaremba’s piano works in domestic home and parlor music and emphasizes the manifestation of the romantic style of this era. Most of the composer’s treatments are presented in a coupled-variation form. The article outlines the leading role of Ukrainian song as an important source in the building of the composer’s piano heritage, analyzes the main techniques and varieties of the variational development of the main thematic material, traces the connection with folk and professional manners of musical material presentation, and also considers the features of the musical form, harmony and texture of piano treatments by Vladyslav Zaremba.

«ПАЛІТРА ДРУКУ»: МІЖДИСЦИПЛІНАРНИЙ ЖУРНАЛ ДЛЯ «ОДНОДУМЦІВ» КНИГОВИДАВНИЧОЇ ГАЛУЗІ

<p><strong><em>The purpose of the research</em></strong><em> is to outline the socio-functional purpose of the analyzed press, in particular its advertising and promotional functions, and the issues and topics relevant for the given period; to reveal the relationship between the typological characteristics of the publication and the genre palette of publications.</em></p><p><strong><em>Research methodology</em></strong><em> – the research used a complex of scientific methods: historical – to determine the nature of the transformation of the press as an object of study in Ukrainian journalism and press studies; contextual – to study the influence of socio-political, cultural, market factors on the formation of the system of thematic and classification complexes of the magazine; analytical-synthetic processing of information and generalization – to identify typological, functional and structural features of the journal of the outlined subject; content analysis with elements of discursive analysis - to establish the interdependence between typological characteristics and the classification organization of the publication, their content; for the outline and interpretation of an array of texts of various genres and various topics, on the basis of which the main trends in the formation of the contemporary literary and publishing process and the book market in general are considered; comparative - for the analysis of the annual press printing of different years; descriptive-analytical – to identify factors characteristic of the journalistic way of reflecting on the defining phenomena and processes of the contemporary book market; systemic – to determine the place of the analyzed «Print Palette» in the system of book periodicals of the contemporary Ukrainian press in general, its role in forming the foundation for modern thematically specialized media.</em></p><p><strong><em>Results.</em></strong><em> It is summarized that in 1994, a scientific and practical magazine was founded – «Palette of printing» (Lviv), which turned out to be one of the most durable among the magazines of the «generation of the 1990s»: the publication existed for more than 15 years </em><em>–</em><em> until 2006, respectively. And although, together with the monthly publication of the Book Chamber of Ukraine named after Ivan Fedorov «Bulletin of the Book Chamber» founded in 1996, it formed a typological group of periodicals of a scientific and practical nature that is close to the one under study, oriented mostly to specialists of several related specialties: of publishing, printing and book distribution, however, the materials of «Print Palettes» were readily read by non-specialists as well – the «book» subject always attracted its cultural «aura», and many publications were of a popular science rather than a scientific nature. With this in mind, we included the magazine «Palitra Pricha» in the circle of research presses as an example of adaptability to market conditions, effective use of the possibilities of specialized press printing as a carrier of advertising information.</em></p><p><strong><em>Novelty.</em></strong><em> New approaches to the analysis of the book press of the period of independence are outlined. After all, the book press published in Ukraine during the 1990s and 2000s is an interesting object of research, it is these media that occupy a special place in the history of the Ukrainian press and in the repertoire of press publications.</em></p><p><em>The analysis and study of the magazine «Palitra Pricha» deepens the understanding of the principles of functioning of specialized book-themed mass media in Ukrainian society.</em></p><p><strong><em>Practical value.</em></strong><em> The obtained results can be used in the educational process in institutions of higher education, which prepare specialists according to the educational programs of the fields 061 «Journalism» and for further scientific investigations regarding the study of the history of book presses of the specified period.</em></p><p><strong><em>Key words:</em></strong><em> book press, book press printing, specialized press, book subject, cultural subject, printed mass media, target purpose, addressability, genre-thematic characteristics, advertising and promotional functions.</em></p>

Жанровая палитра литературных материалов на страницах газеты «Саратовский вестник» 1910-х годов

The article deals with the newspaper genres, used for literary materials in the newspaper “Saratovsky Vestnik” (Saratov Herald) in 1910–1913. This is the time when Saratov’s newspaper culture is taking shape: the structure of the newspaper page, its layout and arrangement of materials, the link between the visual range and the genre palette. The Vestnik features the genres of newspaper advertisement, as well as chronicledocumentary articles. The preference of fact over commentary testifies to the high journalistic culture in the “Saratovsky Vestnik”. The newspaper publishes notes, feuilletons, letters to the editor, reviews. Genres, reflecting the newspaper’s enthusiasm for literature and theatre, are presented abundantly. The deaths of Tolstoy and Chekhov are perceived by the newspapermen as a disaster that has hit the whole Russian social life. As a result, the genre of the passionate obituary is born. The genre diversity of the Vestnik’s literary materials suggests a unified context for the paper provided by the continuity of the authors and the editorial staff. Literary figures and literature often provoke conversation about contemporary life. One of the genre peculiarities that distinguishes the newspaper culture of the “Saratovsky Vestnik” is the way the authors of news lines, feature articles, and reviews of the political life of the city and the province, use literary images, writers’ statements, and aphorisms from works of fiction. It proves not only that the Vestnik’s authors were literary-centric, but also that the newspaper was created for Saratov intelligentsia and people of other walks of life who focused on literature as their main criterion of truth. Readers‘ intentions in the “Saratovsky Vestnik” were a form of popularizing newspaper genres, a way of recognizing them, and of expanding the boundaries of the audience.

Valery Bryusov and Urban Folklore: a game with genre tradition

The subject of the study is a literary game with the genre tradition of urban romance and factory (working) songs in the poetry of the poet of the Silver Age Valery Bryusov. The object of the study is Bryusov's genre palette and his creative searches in relation to the extensive development of genres of domestic and foreign literature, as well as folklore. The authors consider in detail such aspects of the topic as Bryusov's genre strategies, his playing with genre constants and the deliberate distortion of the genre "grid" of the working song with the involvement of features of another, related genre of violent urban romance. Special attention is paid to the catamnesis of Bryusov's texts: their further embodiment in music as songs, both purposeful and spontaneous. The main conclusions of the study are observations on the stylization of folklore in the literature of the Silver Age and reflections on the genre nature of the works of one of the most significant collections of poems by Bryusov, “Urbi et orbi” (1903). A special contribution of the authors to the study of the topic is their consistent tracing in Bryusov's "songs" of the presence of references to specific realities included in the apperceptive base of the reader and the author himself. The novelty of the research lies in the appeal to the genre of urban romance and factory song in Bryusov's work and in the expansion of the evidence base of observations on the genre diversity of the work of this poet and prose writer.

СВЕРДЛОВСК ВОЕННЫХ ЛЕТ ГЛАЗАМИ ОЧЕВИДЦЕВ

Taking into account the experience of creating an image of the Urals in the war years’ literature, the article explores how not only consolidation but clarification and extending both general and specific moments of life and destiny of Sverdlovsk in the years of war took place in the following decades. The main methods of philological reconstruction of the changing image of Sverdlovsk are historic-functional and genre methods. It is shown that the genre palette changes significantly: publicist prose, dominant in the war years, is complemented by the genre of oral narrative, literally processed or present in the author’s version, as well as by а huge variety of memoirs and autobiographical literature. The main aims of these texts are imprinting and preservation of memory. It is noted that between the particular personal memory and the established system of state “politics of memory,” a complicated dialogical relationship is created. It can be based on the principles of complete understanding, when it comes to uniting around the slogan “All for the Victory”, or on the principles of important supplement, when witnesses of wartime everyday life in Sverdlovsk remember, what was the price for the Victory for them personally. Different genre optics, including variants of ego-documents, memoirs, fiction, and various generational and social identities of the actors create the multifaceted and integral image of Sverdlovsk, consisting at least of three components: appearance, way of life, and socio-psychological portrait of the city.

КОНЦЕРТ-СИМФОНИЯ ДЛЯ ДОМРЫ С ОРКЕСТРОМ РУССКИХ НАРОДНЫХ ИНСТРУМЕНТОВ А. А. ЦЫГАНКОВА (художественно-выразительные средства и роль тембра)

The problem of timbre in modern music is particularly relevant nowadays. Until today, composers who have created works for folk instruments have mainly focused on the development of orchestral writing, expanding the instrumentation and improving its technique. Now the authors and performers of academic folk music face new challenges associated with both the expansion of the genre palette of compositions and the search for special timbre means. In this context, composers use registers that were previously uncommon to folk instruments, apply special techniques of sound extraction, experiment in the field of timbre mixes. The article analyzes the Concert-Symphony for domra and orchestra of Russian folk instruments by composer A. Tsygankov from the standpoint of the role of timbre, as well as textural and timbre features. Special attention is paid to the timbre specifics of the domra as a solo instrument, which becomes the main carrier of the major timbre patterns of the composition. At the same time, the artistic expressive means of the work, revealing the author's intention, are investigated. In the course of a detailed analysis of the Concert, conclusions are drawn about the important formative and meaningful role of timbre in the work.

The Formation of Russian Genre Cinema at the Beginning of the 21st Century

The problem of genre formation in cinema constantly causes controversy and discrepancies among art historians, since this type of creativity is synthetic, using the creative possibilities of other types of art. Сommon in the definition of the term “genre” is only the provision that a genre is a way of embodying a certain concept of reality in a work, creating an artistic picture or an artistic model of the world, perceived from a certain angle, which implies a limitation in the choice of means of artistic embodiment of the theme of the work. Like any complex concept, a genre should be considered in a system of several coordinates, among which the dominant features inherent in a particular genre play the most significant role. These two dominants are: 1) the emotion that the film should evoke in the viewer (laughter, horror, sympathy, etc.); 2) the theme of the film (historical, military, sci-fi, etc.). When investigating the problem of genre formation, one should also not forget that the genre is a historical category, i. e. the specific period in which it was created plays an important role in determining the genre characteristics of a particular film. Over the past 30 years, Russian cinema has undergone significant changes in the aesthetic and ethical paradigm, including changes in the themes and genre palette of films. This article is the first attempt to analyze the process of mastering by Russian cinematography new genres for it, which were not previously in the repertoire of Russian cinema (fantasy, disaster film, horror, biopic, musical). Having considered the problem of interaction between cultural globalization and national mentality, the author comes to the conclusion that, having survived the period of imitation of foreign models, Russian genre cinema at the present stage has the opportunity to gain self-identification and become an art that is in demand by a wide audience.

Художньо-публіцистичні жанри на шпальтах районної преси Тернопільщини: аналіз краєзнавчого контенту

The article, based on the analysis of narratives of regional press of Ternopil region at the beginning of the 21st century, clarifies the trends of genre correlation in coverage of local lore topics. Its presentation on the pages of the analyzed newspaper periodicals in artistic and journalistic genres was traced. In the modern conditions, when there is an active transition to digital media, the number of traditional print newspaper periodicals decreases. Regional press belongs to the sources of information that are gaining extra importance nowadays, that requires comprehensive study. The objective of the article is to analyze the genre specifics of artistic and journalistic genres of regional press of Ternopil region at the beginning of the XXI century. The subject of the study is the genre features of local lore content of regional newspapers and their narrative specificities. The empirical basis of the study was the regional newspapers of Ternopil region (“Berezhanske viche”, “Halytskyi visnyk”, “Nova doba”, “Visnyk Nadzbruchchya”, “Kolos”, “Narodne slovo”, “Zborivska dzvinytsia”, “Vilne slovo”, “Dialoh”, “Holos Lanovechchyny”, “Visti Prydnistroviia”, “Homin voli”, “Zemlia Pidhayetska”, “Voliia”, “Podilske slovo”, “Holos narodu”, “Novyny Shumshchyny”) published during the period of 2000‒2015. As a result of the research, a holistic view in the coverage of local lore topics of regional press of Ternopil region at the beginning of the 21st century was formed, and a comprehensive analysis of its artistic and journalistic genres was carried out. It was ascertained that the genre of essay dominates in terms of qualitative indicators (60%) as a tool for comprehensive coverage of the narrative specificity of the local lore texts. It was found that the genre palette of local lore materials was also represented in the regional newspapers by sketches ‒ 37.4% and life stories ‒ 2.6%. It is emphasized that journalistic genres, which acquire a specific representation in the columns of the analyzed newspapers, are adapted to the main functions of regional newspapers. At the same time, under the influence of general trends of development of media space, mutually enriching and intercorrelated processes of genre creation are traced, that is genre transformation.

Ukrainian online magazines for women: types, quantity and their features

Introduction. With the development of the Internet, traditional women’s magazines created their own web pages and published materials. A women’s magazine is not so much about the magazine as a printed product, but about the content it contains. Therefore, new women’s online magazines appear every year and less popular ones disappear. Women’s online magazines (online publications) include publications that operate only on the Internet and do not have printed counterparts, which are engaged in the preparation and distribution of information addressed to a female audience. Relevance of the study. During the research, we did not manage to find works that specifically related to the research of Ukrainian online magazines, nor were we able to find any figures about their exact number, which are updated and read by Ukrainian women. Therefore, the topic is relevant. Methodology. During the research, general scientific methods of analysis and generalization were used. The method of content analysis helped to clarify the topics of Ukrainian women’s online magazines, their genres and specifics were highlighted. The comparison method was also used in the analysis of publications. The grouping method was applied when forming a list of network logs. And with the help of the descriptive method, the research results were formed. Results. During the research, 30 Ukrainian women’s online magazines were found. These magazines are named as online magazines or women’s magazines. They are different in content and design. The peculiarity and difference of women’s online magazines from traditional ones is that they are updated several times a day, the size of their publications is usually small, 1000-2000 characters, materials up to 3000 thousand characters appear rarely. Publications of online magazines contain several pictures, as well as videos. Regarding the language of the publication, there is a part that is published exclusively in Ukrainian (“Ukrainky”, “Women’s World”, “Your World” and others), and a part only in Russian (“LadyHealth”, “Stringi” and others), and there are bilingual ones (in Ukrainian and Russian). Three magazines on this list stopped being updated in 2022, namely Fragile, Wanna, and Zerept.com. Conclusions. Women’s online magazines occupy a significant part of the media market in Ukraine. In 2022, 30 Ukrainian online magazines for women were updated. Such editions are different in content, frequency and design, and are also directed for different age categories of Ukrainian women and their social status and preferences. The content varies accordingly: from important socio-political topics to news from the world of fashion and beauty. They are also updated differently: from several times a day to once a month. The genre palette of online women’s magazines is also diverse.

Vectors for updating the piano repertoire of a modern performer

Background. The article is devoted to the role of the piano repertoire as a determining factor in a musician’s career. It is determined that one of the factors of preserving the academic piano performance tradition in the 21st century was its adaptation to the modern conditions of a globalized society. In these new modern conditions, a pianist improving his skill must accumulate a large, diverse repertoire, constantly supplementing and expanding it. Objectives. The purpose of the article is to determine the vectors of expansion and renewal of the piano repertoire of a modern performer, in particular, in the educational process of student pianists (on the example of the experience of the special piano department of the Kharkiv I. P. Kotlyarevskyi Nationaly University). One of the main tasks of the article is the analysis of the lesser-known piano repertoire for its popularization and inclusion in the performing circuit. Methods. The methodology is based on a combination of historical, theoretical and psychoanalytical approaches to the study of performance as a special sphere of human creative activity. Results. The involvement of new modern technologies in the performing process will require even greater needs of the pianist for comprehensive deep education, based on knowledge of all achievements of musical art and culture in general. Therefore, this process should take place at all stages of a young pianist’s development. Conclusions. The following vectors of renewal and expansion of the piano repertoire of a modern pianist-performer are considered, such as: – addressing the «forgotten» piano music by restoring the undeservedly rejected names of composers of the past. Such actions will allow to develop the performers’ ideas about «already composed» stylistic directions in musical art, to review the genre and figurative composition of works, to find works that impress the performer himself. – expanding the creativity of a specific composer within the limits of the author’s works will provide an opportunity to «uncover» the unfamiliar faces of an artist already known to us, expand the idea of his work, reveal a more extensive genre palette of his work. – new music recently created by the composer remains the most painful problem, as the vast majority of young performers deliberately refuse to get to know the latest music. As a result, the majority of young pianists lack practical skills in interpreting modern music, the main difficulty of which arises, first of all, through the assimilation of the latest textural, timbre-register, and sound specificities of works. – the creation of a national cultural product is the most urgent need in Ukraine today. It is possible to state with confidence the increase of general interest in Ukrainian music not only in its homeland, but also in the world in general. Therefore, this vector has every prospect of successful development. The possibility of communication between performers and composers and obtaining «first-hand» instructions regarding the author’s idea and means of expression of the latest Ukrainian works is of great importance.

Itinerant Musicians of Western Polissia: Mykola Muravets

The person and career of the outstanding traveling musician Mykola Muravets from Western Polissia were characterized in general terms on the basis of the newly acquired expedition materials. This notorious hurdy-gurdy player was born in 1906 on the Murava farm near the village of Shtun of the Volodymyr-Volyn District, Volyn Gubernia. At the age of 11, because of burns from a fired gas shell, he completely lost his sight. The boy was distinguished by his beautiful voice and had an excellent memory and musical ear, so the fellow villagers advised his parents to send him to study with an experienced and a well-known hurdy-gurdy player by the nickname "Matiya".
 Having quickly mastered the basics of the instrument, Mykola began his itinerant performance activity, which was quite prolific and, in certain periods, even highly paid during the time of the Second Polish-Lithuanian Commonwealth. Besides house shows and street performances, he also performed at cathedrals, secular mass gatherings, and in fairs and markets.
 In 1944, the musician’s family could not avoid the calamity of the Second World War. During the events of the Volyn tragedy, the Poles burned down his house with his beloved hurdy-gurdy inside. Due to his family’s poverty, he would never manage to replace his hurdy-gurdy. However, in that moment, a new stage of his musicianship began with the transition to using another instrument - the bandonion – to continue his busking.
 Unlike the hurdy-gurdy playing period, when Muravets dealt mostly with invitations to holidays and celebrations, the following period encouraged the musician to do more busking. The peasants treated the busker with respect and took care of him. Whoever was richer invited him to their houses to eat, spend the night, sing songs, and gifted him with headscarves, fabric, and money. In addition to invitations to houses and street forms of busking, a very important part of Mykola’s busking was participating in religious feasts at churches and monasteries. Mykola Muravets sang akathists, prayed for the health of the living and peace of the deceased, and the offspring of livestock. His knowledge of the Psalter, the Divine Liturgy, and skill in reciting the Akathist led to the high authority of the busker and strengthened his position in the social hierarchy of the village, equating him to a clergyman. The main ritual duties consisted in mourning the deceased in his own and other villages.
 In addition to being honoured among the fellow villagers, Mykola Muravets was greatly respected among blind musicians, whom he repeatedly hosted at his own home for meetings. Particularly, the buskers of the entire district elected a blind man, Mikolay, as their leader.
 There is a genre palette in the repertoire of Mykola Muravets. At the beginning of his career, he mainly performed only religious and moralistic works, which he mainly learnt from his teacher – Matvyi Kovalchuk, and the rest later from other blind musicians during busking.Mykola Muravets died on May 22nd, 1995.