Genre Palette Research Articles

THE TOPOS OF KHMELNYTSKY IN OLGA SALYPA’S NOVEL «THE HOUSE ON APTEKARSKA»

Literature of the beginning of the 21st century. is marked by dynamic processes of expansion of trends in the emergence of urbanism. The works of modern Ukrainian writers present the topos of the cities of Kyiv, Lviv, Ivano-Frankivsk (Stanislavov), Zhytomyr, Rivne, Ternopil, Kharkiv, and Chernivtsi. Literary researchers have repeatedly addressed the problem of the formation and establishment of urban literature. However, the work of Olga Salipa – an original artist of the word, the author of a number of novels and novels, and the winner of the «Coronation of the Word” contest – remains outside the attention of literary critics. In the article, we focus on the urban portrait of Proskurov at the turn of the 19th-20th centuries and Khmelnytskyi at the beginning of the 21st century. In Olga Salipa’s novel “The House on Aptekarska”, the life of the city is conveyed through the perception and feelings of two women – the pharmacist’s wife Mykhailyna Derevoyed and Ulyana (Lyana) Yakovenko. The author, drawing urban pictures, depicts the city as an environment where a person seeks to find himself, establish himself and realize his place in the world. Various locations of the city appear on the pages of the work, we meet detailed descriptions of urban landscapes. Olga Salipa provides an interesting description of Proskurov, which allows the reader to immerse himself in the atmosphere of city life at the end of the 19th century, and the novel clearly outlines the modern trends of city life. The writer, first of all, reflects the city as an environment where a person seeks to find himself, establish himself and realize his place in the world. The city has the ability to preserve and transmit from generation to generation informational and cultural codes, which are the basis of civilizational development. The feeling and perception of the city are consonant with the mental visions and experiences of the main characters, which proves the tendency to psychologize the narrative. The creativity of Olga Salipa witnessed the further expansion of the thematic horizons of modern Ukrainian prose and the renewal of its genre palette.

Mutual Influence of Woodcut Art of China and the USSR

The article discusses the features of interaction and mutual influence of the art of woodcut of China and the USSR. Chinese woodcut and Soviet engraving reveal the greatest mutual influence and rich genre palette in the middle of the XX century. Chinese woodcut gave a creative impulse, enriched the visual possibilities, brought new ideas to the Soviet art of woodcut. It served as an impetus for the rise of graphics, which realized and asserted its specificity. In this regard, it seems relevant to identify common features of Chinese woodcut and Soviet engraving of the mid-20th century, as well as to identify differences in the development of this art form in the two countries. The article analyzes the works of famous woodcuts of two countries: Chen Yanqiao, Yang Han, Qi Baishi, V. A. Favorsky, A. A. Ushin. As a result of the analysis, the common features of Chinese woodcut and Soviet engraving of the mid-20th century were revealed, for example, similar plots and themes, as well as a special dynamic, lively and pulsating rhythm of the works. In addition, differences in the development of this type of art in both countries have been established, largely due to the preservation of their own national style by graphic artists. It is claimed that Soviet graphics contributed to the variety of Chinese woodcuts. In turn, Soviet artists adopted the subtleties of filigree technique from Chinese woodcuts.

Patriarch of National Radio Broadcasting: To the 100th Anniversary of Professor V.N. Ruzhnikov

The article is dedicated to Professor Vsevolod Nikolaevich Ruzhnikov, Doctor of Philology, whose name is associated with the very first scientific studies of the phenomenon of radio, radiotelegraphy and radiotelephony. The purpose of the author is to recall that Professor Ruzhnikov is the founder of the national scientific school of radio journalism: he comprehended and systematically presented (in the format of textbooks and monographs) the history of radio broadcasting and radio journalism, presented the genre palette of radio programs, studied the functions and principles of radio organizations. He is a co-organizer of the country’s first university department of radio broadcasting and television of the Faculty of Journalism of Moscow State University (now it is called the Department of Television and Radio Broadcasting). The contribution of Vsevolod Nikolaevich Ruzhnikov to editorial and publishing activities is significant; the features of his editing of scientific texts require a separate study. The author of the article, in the past a postgraduate student of the professor, and now the scientific editor of the annual Ruzhnikov Readings at Moscow State University, refers to unstudied materials that are not known to modern media students and young scientists, radio journalists. The facts of the biography of Professor Ruzhnikov reflect the personality of a teacher and a citizen - a bearer of high moral values. The article uses the methods of retrospection, observation and in-depth interviews.

D.KLEBANOV’S CONCERTO FOR DOMRA AND SYMPHONIC ORCHESTRA IN THE CONTEXT OF GENRE DEVELOPMENT

Statement of the problem. D. Klebanov played an important role in the development of domra concerto genre in the middle of the 20th century. Ocheretovska N. (2015), Savchenko H. (2021), Kosenko H. (2018), Shapovalova O. (2011) have studied D. Klebanov’s composer style, in particular, his orchestral thinking. However, the creative principles that guided him when writing Domra Concerto, as well as genre and style features of this composition went unexplored. This determines the relevance and scientific novelty of this study aiming to reveal the features of Klebanov’s composer thinking, which are reflected in his Domra Concerto and influenced the further development of the concerto genre in domra music. When analyzing the Concerto, genre-style, organological, performance and comparative research methods were used. The results and conclusions. By the time Klebanov’s Concerto appeared (1951), the domra repertoire included only various works of small forms. The emergence of the concerto genre launched a number of domra concertos, where single-movement concertos predominated, while the three-movement cycle was represented by only a few works by D. Klebanov, V. Ivko, B. Mikhieiev. Klebanov’s Concerto consists of three movements (fast – slow – fast), which are written in forms typical for the classical sonata-symphonic cycle (sonata in the first, refrain’s variations in the second and rondo-sonata with variations in the third movement). The tonal thinking inherent in Klebanov’s orchestral compositions is fully preserved. The theme of sonata exposition is contrasting; sub-themes have a songlike character clearly manifested in the second part. The cadence of the first movement embodies domra characteristic features, namely the cantilena and virtuosity; domra is presented as a multi-timbre instrument with wide coloristic possibilities. Klebanov uses a folklore quotation in the Concerto Finale (Ukrainian folk song “The reapers went to the field”) and stylizes Ukrainian folklore in other parts. This combination of quotation and stylization was later used in other orchestral and chamber compositions. Thus, Concerto by D.Klebanov is the first example of a cyclic concerto form in Ukrainian domra music, which gave birth to a number of works in this genre, especially by Kharkiv composers (V. Podhornyi, I. Ivanov, B. Mikhieiev, A. Haidenko), where the genre palette extends from the three-movement concerto, respectively, to the concertino, poem-concert, concerto-toccata, concerto-epos and concerto-suite. Despite the fact that Klebanov’s Concerto belongs to an academic model, Ukrainian melody penetrates into every part of the form, turning this composition into a vivid example of the national domra concerto.

The formation of the original repertory for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts as a historical mission of Kharkiv composers (1950–1960)

Statement of the problem. The Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts has been performing for more than 90 years. However, the original works composed for this orchestra have never been the subject of serious scientific interest. The relevance of the problem is determined by the necessity to generalize the previous generations of composers’, performers’ and teachers’ experience in the field of folk instrumental art, in particular, the training in the orchestra of folk instruments as a concert unit. Analysis of recent publications shows, that the study on folk instruments orchestral performance has not been reflected in national scientific journals for a long while, but currently this is considered as an up-to-date issue. The articles by N. Bashmakova and V. Kikas and Yu. Fedotov (2018), Z. Stelmashchuk (2014), K. Maidenberg-Todorova (2019), I. Fedun (2020) are confirming this statement. The main purpose of the article is to find basic principles of the original repertoire formation for the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts related to the creative activities of Kharkiv composers in the 1950–1960s. For the first time, the historical mission played by Kharkiv composers in the original repertoire formation of the Folk Instruments Orchestra of Kharkiv I. P. Kotlyarevsky National University of Arts is determined. The concept of the article is based on the interdisciplinary interaction of historiographical, holistic, genre-stylistic and performing methods of researching, as well as a phenomenological approach to the analysis of the individual style of a composer based on the example of the particular works. Results and conclusions. The selected works by O. Steblyanko, D. Klebanov, V. Borisov, B. Alekseev, I. Kovach, P. Haydamaka and V. Podgorny included in the concert program of the creative project of 2021 have been analyzed due to their compositional, intonation and dramaturgical structure. The compositions that have been arranged for the folk instruments orchestra from the scores of symphony orchestra or ones instrumented from the compositions for accordion, domra ensemble, domra accompanied by piano were identified. According to the results of analysis, the creative approach of the composers of Slobozhanshchina in the 1950s–1960s was based on the thematic development of folklore material (song and dance prototypes) or the creation of the original themes, which are as close as possible to the folk samples. Having created large forms for domra and balalaika, Kharkiv composers fulfilled a historical mission in the formation of the original repertoire and, correspondingly, genre and stylistic priorities of the Folk Instruments Orchestra of KhNUA named after I. P. Kotlyarevsky. Due to the arrangements of these works for the folk instruments orchestra, a high academic status of playing folk instruments was demonstrated. It is necessary to emphasize the genre and stylistic orientation of these works on the Western European tradition. Along with the traditional forms of processing and arrangement, the folk instrumental art received the entire genre palette of European music, from miniatures to suites and concerts (in terms of timbre and texture capabilities of the folk instruments). On this way we see the keys to the academic status of the folk instruments orchestra. The prospects for further development of the theme. On the basis of the formed original repertoire at a certain historical moment it is possible to substantiate other leading principles of the orchestra as a concert and educational unit: the combination of an orchestra performer’s training, the formation of his professional skills with the ensemble’s concert activity; the introduction of academic approaches in the training of the folk instruments performers, conductors etc.

Ukrainian vocal music of the 20th – early 21st century in the pedagogical repertoire of the soloist-vocalist

The purpose of the article. The paper describes the contemporary vocal pedagogical repertoire from the standpoint of its representativeness in relation to musical trends of the 20th – early 21st century. The methodology is based on a combination of historical, cultural, systemic, analytical, predictive methods, which made it possible to demonstrate the limited educational repertoire of vocalists, respectively, with didactic tasks and potential openness to expand its genre and style palette in connection with the need to train a universal academic singer. The scientific novelty of the paper lies in the fact that in Ukrainian science for the first time the problematic issues of the content of the pedagogical repertoire of academic vocalists in the context of the genre and style diversity of vocal music of the 20th – early 21st centuries were revealed. Conclusions. The contemporary pedagogical repertoire used in the preparation of academic vocalists does not reflect the stylistic and genre diversity of the musical art of the 20th – early 21st centuries, in particular, it does not contain avant-garde compositions, which have long been a constant of contemporary musical culture. Practical acquaintance with avant-garde classics is possible as part of an elective for those vocalists who plan to specialize in this direction of academic music, however, the pedagogical repertoire of training an academic vocalist does not provide for the performance of works of an avant-garde character and the acquisition of appropriate skills. The reasons for the inexpediency of including avant-garde music of the 20th – early 21st century in the main educational repertoire is the absence of a temporal distance, not always a high artistic level of contemporary works, the impossibility of including contemporary vocal music of an avant-garde character in the anthology due to the peculiarities of its notation and forms of existence, as well as the priority for the educational process of the classical vocal repertoire as such that forms the vocalist’s executive apparatus. At the same time, Ukrainian variety classics of the 20th century is an integral part of the educational repertoire of a contemporary academic vocalist, as it serves as a bridge between elite and popular musical culture.

Genre and style priorities of accordion performance in traditional common culture of USA

The relevance of the study is determined by the wide popularity of accordion in various genres and styles of American folk music, significant achievements of American accordionists in preserving and developing performing traditions in accordance with the ethnocultural specifics of a particular region of the country and presentation of creative achievements of famous American folk groups in the world music space, as well as by lack of the studies on this issue in the field of musicology in Ukraine.
 The aim of the study is to define the genre and style priorities of accordion performance in the traditional common culture of Americans, highlight the regional specifics of styles and genres of American folk music, in the reproduction of which the accordion is directly involved, as well as describe textural, articulatory and picking, metric and rhythmic features of playing the instrument.
 The methodology. The methodological basis of the study is the interaction of scientific approaches, among which an important place is occupied by historical, cultural, systemic, structural and functional, musicological methods.
 The results. In the traditional common culture of Americans, the performance on the accordion is presented quite diversely in terms of the instruments, distribution areas, genre, and style palette of music performed. Historical, sociocultural and geopolitical factors, ethnocultural influences, multicultural tendencies determined the regional specificity of the instruments. The Cajun accordion, the diatonic button accordion, and the chromatic piano accordion have gained considerable popularity in the traditional common culture of various regions of the United States. Each of them took leading positions in the reproduction of a certain musical style: Cajun accordion — Cajun and Zydeco, diatonic button accordion — Cojunto, chromatic piano accordion — Zydeco. The button (diatonic or chromatic) and piano accordions were mainly used in the instrumental composition of dance music groups, in particular in the genre of polka, depending on the region with the corresponding ethnic specificity. The accordion performance vividly embodies the genre and style features of American folk music in the context of its historical dynamics and capability of artistic expression, including intonation expressiveness and characteristic techniques of playing, inherent in a certain design model of the instrument.
 The topicality of the study is to reproduce the genre and style specifics of accordion performance in the traditional common culture of Americans.

BRECHT’S THEATER: GENRE DIVERSITY AND BASIC CONCEPTS

The article is devoted to the drama of Bertolt Brecht (1898–1956), the peculiarities of its genre palette and analysis of the main factors of the playwright's artistic method. To achieve this goal, the following research methods were used: descriptive; matching method; literary analysis and synthesis. The Brecht Theater is represented by genre varieties of theatrical forms: expressionist drama, musical, opera, operetta, Lehrstück, epic and dialectic theater. The article proves that dialectics is the ideological soil and the conceptual core of the Brecht Theater. The dialectic poetics of a playwright should be understood as the method of analysis and argumentation presented by the Hegelian triad: thesis – antithesis – synthesis. In accordance with the dialectical concept, the Brecht theater puts in the center primarily the principle of contradiction, aimed at a multifaceted understanding of phenomena, overcoming a frozen, ossified way of thinking. The study defines the key concepts and principles of creating the drama of Bertolt Brecht, namely the «alienation effect» (Verfremdungseffekt) and assemblage (composition). The principle of the «alienation effect» is that a familiar phenomenon appears in the theater from an unexpected perspective, and therefore requires awareness of the viewer’s novelty. The means of this is the constant violation of theatrical illusion, the reality of what is happening on stage. The assemblage stipulates that the theatrical action is not a homogeneous system, but is a «made», «constructed» plane of various heterogeneous «materials»: dialogical discourse is interrupted by lyro-epic components (songs); in the musical plan, which is designed in the same style, jazz elements are suddenly «mounted», actors exchange roles during the performance, elements of the cinema «penetrate» the event plane, the causal course of the events depicted is interrupted by the demonstration of banners or posters with provocative appeals. The prospects for further research are the literary analysis of post-Brecht theater, that is, drama, which appeared as an imitation or negation of the dramatic principles of Brecht's theater.

Генезис и некоторые вопросы жанрового своеобразия чеченской литературной сказки

In the article reveals the characteristic features of the Chechen literary tale. There is considered the question of the legality of distinguishing a fairy tale as a literary genre. Analyzing the history of the formation of the Chechen literary fairy tale, the authors note the structural similarity between folk and literary fairy tales, as well as the nature of the use of folklore motives by writers, which expand the genre palette of literary fairy tales.

The study of Chinese opera culture on the example of the genre palette

The purpose of the article is to study the problem of Chinese opera culture on the example of the genre palette. The methodology is to use the historical method in the study of this topic. It is thanks to this method that genre genres of Chinese opera are revealed in the work. Information on roles and make-up is provided, based on the historical method. The scientific novelty of the article is to study the feasibility of the issue of Chinese opera culture, drawing on the country's musical traditions. The historical names of the philosophers who influenced the development of the musical arts and education system, which affected the cultural traditions of China, were highlighted. The scientific novelty of the article is the study and study of Chinese opera culture on the example of the genre palette. Based on the country's musical traditions, we single out important factors of opera genres, including Tibetan opera, Shaoxing, Sichuan, Henan, Guangdong, etc. Conclusions are based on the study of the problem of Chinese opera culture on the example of the genre palette, revealed the original culture of the country, its worldview system. The problem of the genre palette of Chinese opera culture has interested many scholars, among which we single out scientific works: L.S. Vasiliev, Hou Jiang, U Gen-Ir, and others. This question highlighted the philosophical trends that underpin China's traditions. The problem of studying the worldview system of ancient China as the basis for the emergence of the musical tradition has interested many scholars because it influenced the cultural life of the countries of the East. Based on the study of the problem of opera culture, they discovered the original art of China. Philosophical views influenced both theatrical life and the country's musical art. Special attention was paid to the issue of education, in particular aesthetics, in China. Music education has played an important role in China's culture. Confucius emphasizes the comprehensive development of humans while emphasizing the morality of the individual. The opera culture of the country is peculiar. Musical load played a big role. The Chinese worldview is based on a vision of nature as a living organism. The first sprouts of musical and theatrical art emerge. XII-XIII centuries marked the birth of Chinese opera. The Chinese theater was in full understanding of the people. The article highlights the types of opera genres. The musical side of classical theater is characterized by an unbroken unity of sound, words, and dance. The circle of images, moods, techniques of acting is characterized by a certain type of melody, rhythm, composition of the orchestra. The study of this issue regarding the opera culture of China is interesting and not fully understood, which necessitates further development in the study of this issue.

Тема Голодомору 1932–1933 рр. на сторінках часопису «Українські Вісті» (1945, Німеччина – 2000, США)

The problem of restoring historical truth has always been relevant among Ukrainian political emigrants. The proof of that is the materials about the Holodomor of 1932–1933 on the pages of the Newspaper “Ukrainian News”/“Ukrainskі Wisti”. The objective of this study is to find out the subject and genre palette of materials about the Holodomor in Ukraine, the names of their authors, the significance of these publications in the general process of restoring historical truth both for the Ukrainian emigrant society and the process of civil society formation in Ukraine, as well as expanding the scientific paradigm of this issue through the little-known materials of emigration press. We managed to ascertain that 413 materials of different genres, which are directly related to the outlined subject, were published on the pages of “Ukrainian News”. The most essential method of achieving the objective was the analysis of materials of the newspaper “Ukrainian News”, which helped to identify the main components of the subject matter. Through this method, the publications of a significant number of authors on the same subject, as well as effectiveness of presenting their materials on the topic of this study were analyzed.

The Language of Internet Media: Linguocultural Aspect

The purpose of the article is to highlight the specific features of the language of Internet media.Research methodology. The analysis of the language of Internet publications has led to the use of general scientific methods, in particular, unstructured systematic observation, a descriptive technique used to specify the features in the language and style of online media.Results. Considering the active influence of the language of the Internet media on the formation of the culture of the Ukrainian language, it is necessary to introduce control over the quality of Internet journalism. To become the Internet more “literate”, the first step must be taken by the Internet media. The texts should be complied with the language norms. Nowadays online journalism is already trying to reach a new professional level. Opportunities inherent in the Internet (multimedia, interactivity, hypertextuality, etc.) allow us to modernize the old genre palette of journalism, to make it more effective (in relation to the features of the audience’s use of information on the web).Scientific novelty lies in clarifying linguistic trends in the Internet media, explaining the reasons for language shifts.The practical significance of the study is that the presented results can be used in further scientific and educational work, for example, in the development of lectures on the courses “New communication technologies and media”, “Typology of Internet media”, in the preparation of educational literature.

Жанрова палітра матеріалів fashion-журналістики у ретроспекції (на матеріалах львівських періодичних видань для жінок пер. трет. ХХ ст.)

Жанрова палітра матеріалів fashion-журналістики у ретроспекції (на матеріалах львівських періодичних видань для жінок пер. трет. ХХ ст.)

ЖАНРОВА ПАЛІТРА ПУБЛІЦИСТИЧНОЇ ТВОРЧОСТІ ЄВГЕНА МАЛАНЮКА НА СТОРІНКАХ ЖУРНАЛУ «ВЕСЕЛКА» (КАЛІШ, 1922–1923)

The article considers the initial period of the creative path of the Ukrainian poet, writer, publicist, historian Yevhen Malanyuk during his stay in the camps of interned soldiers of the UPR Army on the territory of Poland. Ye. Malanyuk's work during the period of Polish internment, of course, became the basis not only of the artist's authorial style, but also determined the main thematic direction of his creative activity. The artist's journalistic work is analyzed on the pages of journal “Veselka” (Kalish, 1922-1923) and focuses on the genre palette of the author's journalistic work. The main features of the use of genres in the journalism of Yevhen Malanyuk of this period are highlighted, the features of the author's handwriting and methods of communication with the audience are traced. An attempt was made to systematize the artist's periodicals, which was published in the journal “Veselka” by genre specificity and analyzed the application of methods in the selected genre. The study found, that Yevhen Malanyuk used a rather limited number of genres in the materials published on the pages of journal “Veselka”. The study highlighted: article, review, essay as the main genres used by the artist when writing his works on the pages of journal “Veselka”. It was also determined that in his work Yevhen Malanyuk did not adhere to a certain stereotypical perception of the genre as a permanent form of writing and used a combination of different genres through their diffuse nature. The article analyzed that Yevhen Malanyuk in his various genres of journalism raised a large number of nationally affirmative issues, formulated a theoretical platform of Ukrainian culture in the coordinates of the world cultural space. The author drew to witness the past of a nation that for centuries had fought desperately for survival and was ruthlessly Russified. Given the present, we can say that these problems occur in modern society, because the reform of general morality and consciousness is gradual, and with it self-determination develops in view of the views and preferences of man. And the works of Yevhen Malanyuk are a treasure trove of national unity and cultural and ideological determination of Ukrainians in the motives and means of introducing ethnic culture into the life of modern Ukrainians.

К вопросу о жанровом разнообразии корпоративного медиадискурса

The choice of the genre palette of a corporate magazine directly depends on the goals and functions of this publication. Corporate magazine functions are implemented be means of a specific communication strategy. The article deals with the question what genres are used in a corporate magazine for personnel to perform its main functions.

Domra’s sonorous possibilities in the pieces by O. Oliinyk

Domra’s sonorous possibilities in the pieces by O. Oliinyk

DEPORTATION OF THE SOVIET GERMANS THROUGH THE EYES OF A CHILD IN THE NOVELETTE: EXPERIENCE OF REFLECTION AND AUTOREFLECTION

Data for study in the present article is the anthology of literature of the Russian Germans «The rumble of sounds is in the air» having been issued following the anthology of the Russian Germans literature of the second half of the XX – early XXI century «Towards the mistrustful sun». A genre palette of the new edition is the following: a novel, a novelette, a story, a miniature and a schwank. The book has been prepared for printing by the Institute of Ethnocultural Education in cooperation with the International Union of the German Culture. Due to the announced subject, i.e. deportation of the Soviet Germans through the eyes of a child, such works as «Our Yard» by Gugo Vorsmbekher, «The Nonfictional Landscape» by Olegа Klingа, «The Nonwoven of Fate» by Nellie Kossko and «The Melting Boat. The Karaganda novelet» by Elena Zeyfert, giving the experience of an autoreflection, are analyzed. Deportation of the Russian Germans through the child's eyes is shown at the Russian Germans mainly in the novelette; the subject is the character or the story-teller character. «The Nonfictional Landscape» by O. Klinga flickers between the novel and the story. Its poetics gravitates toward the specific for the novelette historical sight and two spheres of «friend or for». The genre of the novelette is interesting to the authors not only with the tendency to one main plot, the central character which is easy for attaching to the child. Constant is the historical sight of the novelette. The child can’t realize the originality of the situation which he is in. He just lives, noticing singularity of adults’ behavior remaining at that in the children’s world. He experiences recurrence of time altogether with the cycles of his own life. Such is Sasha of Klinga, Fritz of Vormsbekher, Emma of Kossko and Mariyka of Zeyfert. The other reason lies in the sphere of the internal movement of the plot and chronotope: the hero leaves from one valuable (and an existential point) in another and then comes back.

The hutsul music features in the structural and stylistic context of the performing folkloryzm

Research objective. The article aims to describe the structural and stylistic components of performing folklorism and consideration regarding the existing definitions of multifaceted concept «performing folklorism», which represents theoretical and methodological tools for deep analysis of stylistics, genre, technical and performing elements and musical features that folklore expresses, their extrapolation to performing interpretative diversity in the context of Ukrainian music art. The methodology of the research is based on the theoretical, historical, comparative and analytical methods. The scientific novelty outlines structural and stylistic components of performing folklorism, which significantly affect the expression of national features in modern Ukrainian performing art. Conclusions. In a concept “performing folklorism” are two ponderable constituents in the dialogic form of intercommunication of these systems: professional academic performing art and folklore in his various palette of expression. Performing interpretation is a main point of arranged and ethnographic folklorism, that present performing folklorism. An important value in the context of modern national performing style belongs to the Hutsul instrumental traditional music, which is the unique artistic phenomenon of the Ukrainian musical culture. In general, the Hutsul genres played an important role in the formation and development of Ukrainian instrumental music, even though the Hutsul performance tradition mostly has an instrumental type of music presentation. The Hutsul region presents a numeral musical tool, ramified genre palette, and original stylish description that is provided due to the whole complex of structural and performing elements (strokes, articulation, fingering principles, timbre descriptions of sounding, dynamic). The outlined lines of the Hutsul folklore are traced in academic performing art. It follows to underline the originality of artistic expression and stylish originality of musical art of the Carpathian region, that predefined by the row of objective structural and style components: 1) maintenance and functioning of archaic elements of musical structure, such as a variant, improvisation, repetition; 2) considerable genre variety of executable music (kolomyjka, hutsulka, Ukrainian dance, hopak, snowstorm); 3) rhythms, as a cementing factor of musically-composition structure; 4) ornamental melodious line. The outlined structural and style components of the Hutsul folklore present wide interpretation multiplicity within the performing folklorism. The ponderable constituent of traditional music is the various system of technically-performing features. On technically-performing and genre-stylish levels, violin traditional art of the Hutsul region presents all system of the musical expressive features, presents traditional professional school of the violin performing art with a clear vector on the maintenance of archaic structures of musical compositions and them highly-artistic interpretation based on a wide palette of the whole complex of technical possibilities, that crystallized in the folktraditional performing. Ukrainian vocal, instrumental and vocally-instrumental collectives reconstruct an authentic genre-stylish model within the performing folklorism. Underlined the diversity of folk styles, symbiosis of the folk manner of singing with the academic vocal art. Thus, the national performing style provides an intelligent and deep interpretation of authorial works of folklore maintenance, a study of a wide palette of the traditional music that is characterized by ethnic characteristic intonation (concept of O. Kozarenko) musicians. The stylish component of performing folklorism presents differentiation of folk styles of implementation, following regional features, genres, forms, features of the traditional musical expressiveness. Performing folklorism, as a highly artistic phenomenon in Ukrainian music art, opened new possibilities for the representation of folk-instrumental and vocal traditions in the context of the national professional academic performing. Review and learning of the structural and stylistic components of performing folklorism, such as ethnic-regional style, genre characteristics, details, articulation, fingering, manner of play, vocal manner, dynamic nuances, timbral coloristic palette, determines the quality of the performing interpretation of the music compositions with the brightly national dominant. Within the performing folklorism crystallized appropriate professional repertoire, which comprises genres of vocal, choir, and instrumental music with the bright images and symbols of Ukrainian national folklore.

Жанрова палітра публіцистичних матеріалів на літературну тематику

У статті висвітлено і проаналізовано форми опосередкованої реклами та промоції художньої літератури у ЗМК, до яких віднесено публіцистичні матеріали на літературну тематику. Розглянуто та охарактеризовано жанри репортажу, звіту, біографічного або портретного нарису, есе та блогу, зокрема відео- і фотоблогу. Визначено їх потенціал у популяризації читання та промоції літератури. Простежено жанрові трансформації публіцистичних матеріалів на літературну тематику, досліджено виникнення нових жанрів опосередкованої реклами, зокрема букстаграму. Метою статті є дослідження жанрової палітри публіцистичних матеріалів на літературну тематику та визначення їх ролі у промоції книжкової продукції та популяризації читання. На основі аналізу сучасної вітчизняної та зарубіжної наукової літератури з проблем читання доведено, що популяризація читання на сучасному етапі передбачає широке використання новітніх інформаційних технологій і впровадження нових форм і методів промоції книги. Також актуалізовано продуктивність засобів опосередкованого впливу на аудиторію, спрямованих на підвищення статусу читання як соціально-культурного інституту, формування позитивного іміджу людини, яка читає. Доведено потенціал ЗМК у популяризації читання і налагодженні ефективної комунікації між різноманітними соціальними інститутами, що беруть участь у цьому процесі. Наукова новизна розвідки полягає у комплексному дослідженні журналістських жанрів, що використовуються для висвітлення літературної тематики. Матеріалом дослідження стали сучасні публіцистичні матеріали літературної тематики українських інтернет-ЗМК. Результати дослідження можуть доповнити навчальні курси «Масова комунікація та інформація», «Журналістика», «Теорія соціальних комунікацій», «Теорія і практика видавничої справи», «Книжкові видання», а також бути задіяні для оптимізації роботи мережевих видань.

Bassoon in the 16–17 centuries: the issues of the bassoon practice development

Bassoon in the 16–17 centuries: the issues of the bassoon practice development