Stylistic Peculiarities Research Articles

ИЗ РОССИИ В ВЕЛИКОБРИТАНИЮ И ОБРАТНО ЧЕРЕЗ ЛА-МАНШ: МУЗЫКАЛЬНЫЕ ОТКРЫТИЯ ПЕРИОДА ВТОРОЙ МИРОВОЙ ВОЙНЫ И «ОТТЕПЕЛИ» (по следам архивных находок и зарубежных публикаций)

Russian music enjoyed its popularity and appreciation among British audiences throughout the twentieth century. Musical life in London during the period of World War II was infused with a good number of concert programmes. The finest works of national composers of the tsarist Russia were performed along with musical works of the Soviet period regardless of their stylistic peculiarities as well as of the approved or disapproved states of their authors with the Soviet authorities. They laid a fine foundation for an active musical interchange between musicians of both countries formed at the turn of the Khrushchev Thaw period, when the ‘crème de la crème’ of Soviet performers stepped on British soil and British performers toured Russia in the early 1950s. It was down to personal contacts of enthusiastic musicians, rather than only those signed on a governmental level known as the Soviet-British Cultural Agreement of 1959, for example, that did maintain the initiatives and musical collaborations. The concert activities and correspondence of Vadim Borisovsky with his British colleagues, which started much earlier, is the best example in this regard. The discussion of these topics relies heavily on recent archival findings from Moscow and London.

The Soviet Pavilion at the World Exhibition in New York: Search and Implementation of an Architectural Image

This article addresses the Soviet pavilion at the World Exhibition in New York City, 1939, especially the architectural and artistic image of the Soviet pavilion, including its search and implementation. Archiveal documents from the Soviet section of the International exhibition in New York, as well as professional periodicals of the 1930s, analyzed to interpret and evaluate the New York exhibition and the Soviet pavilion in the Soviet public field, make up the main data base for the article. First, the competitive practices of the 1930s and their hidden mechanisms, ruled by party-state power, are shown through the case of the New York Pavilion. Further, the stylistic peculiarities of the pavilion are considered, and ideas among the power circles about worthy forms of the “export” representation of the USSR by architectural and artistic means are shown. With the example of an “Americanized” style of the Soviet pavilion, the practice of appropriating alien architectural forms was demonstrated as a way to emphasize the involvement of Stalinist culture in current global trends. Attention is also drawn to the contradiction between official “internal” discourse, with its main thesis of turning to “classical heritage”, and the choice of a modern language for “export” architecture.

Лексико-стилистические особенности триединства «портрет – интерьер – пейзаж» в современной русской репортажной прозе

Лексико-стилистические особенности триединства «портрет – интерьер – пейзаж» в современной русской репортажной прозе

Pragmatic and stylistic peculiarities of electoral discourse (based on the material of presidential TV debates)

Recently, studies of various types of discourse have been carried out in the context of their actualization in a situation of speech interaction considering cognitive and communicative factors, therefore this work is focused on the analysis of the functional features of electoral discourse. In modern linguistic works, electoral discourse is defined as an interactive speech and mental activity, limited by the institutional framework of the political sphere and controlled by a global communicative intention – influencing voters to retain power through self-presentation and creating their own positive image, as well as discrediting the opponent’s image. Among the problems that were considered by researchers in the analysis of electoral discourse are its constitutive features, communicative orientation, issues of genre diversity, determination of communicative strategies and tactics etc. However, the problem of the pragmatic and stylistic specifics of this type of discourse has not yet received fundamental coverage in the relevant works, which justifies the urgency of the given study. The material for the analysis was 1578 contextological fragments of video recordings of the presidential election debates between D. Trump and H. Clinton and D. Trump and J. Biden. As a result of the study, it was found that speakers use various stylistic means to achieve a certain pragmatic goal – self-presentation or discrediting an opponent. Among the most common means of creating a positive self-image are positively colored vocabulary, epithets, parallel constructions and repetitions. The most frequent stylistic means of implementing the strategy of discrediting the opponent are negatively colored vocabulary, epithets, parallel constructions, repetitions and metaphors. In this regard, we can state a qualitative similarity in the means of implementing both strategies; while quantitative data allow us to assert that a greater number of stylistic means are used to discredit the opponent, which creates a special expressiveness of such speech.

Антонимия как отражение биполярного мира Германа Мелвилла в переводе И. Бернштейн романа «Моби Дик»

Herman Melville’s novel Moby Dick addresses the eternal problem of life and death, the human personality and its place in the universe. It is an exceptional piece of work about the tragic tension of the worldview, the sharpness of the material presented in it, and the most important role in this is played by antonymous linguistic means. The authors of the article present a comparative analysis of the linguistic means of the original text of the parable novel and its Russian translation with respect to the use of antonyms. The material of the article makes it possible to realize the role of the translator I. Bernstein in transposition of verbalizers of art values of the American literature on Russian soil, reveals its creative individuality and professionalism. Understanding the functional and stylistic importance of the antonymous component of the novel, in his translation I. Bernstein retains the most important in terms of content and style of this work a pair of lexical antonyms of the contradicting type: “Light — Darkness”, “Black — White”, “Tall — Short”, “God — Devil”, “Life — Death”. Contextual antonyms, word-forming antonymous pairs, metaphors based on antonyms available in the original text also have equivalents in the Russian version. Comparative analysis of the original text and the Russian version clearly shows that I. Bernstein’s translation is equivalent and adequate. The stylistic peculiarities of G. Melville’s novel “Moby Dick”, connected with the use of antonymic possibilities and conditioned by contradictory philosophical problems solved in the work, are preserved in the Russian version of the novel.

Франкофонія у сучасному світі: єдність та розмаїття форм

The article considers Francophonie as a tool for uniting the Francophone countries of the world, geopolitical community, which is characterized by linguistic and cultural diversity. It has been analyzed territorial and national variants of the French language containing regular deviations from widely used norms at the level of phonetics, vocabulary, grammar and stylistic peculiarities of speech. The peculiarities of the specifics of the variability of the French language within a cultural and linguistic network of the Francophony have also been considered. It has been established that territorial and social aspects of language change come to the fore, as they are largely due to the use of the French language outside of France, and its contacts with many languages in the world. It has been determined that Francophonie also serves as a mediator between its constituent nations and the rest of the world. As a result of the study, it has been established that diatopical features of the French language are evident, despite the fact that they are constantly shaded by individual peculiarities of pronunciation, the educational level of the speaker and the situation statements.

Експресіоністський стиль роману Жана Жіоно «Велика отара»

The paper is devoted to the analysis of the stylistic peculiarities of the novel of the French writer Jean Giono «Big Flock» (1931) dedicated to the events of World War I. The article proposes to use the Gaston Bashlar’s conception «The Poetics of Fire» as a methodology for the research of the expressive style. In the French criticism there is an idea about stylistic sophistication of this work, which is defined as a model of the tragic naturalism. It is suggested to look at the style of this work from the point of view of the poetics of expressionism. It is shown that the work of J. Giono is an example of «the ardent language», which contains the bright «The Poetics of Fire» and many other means of expressionist style. The novel «Big Flock» is called an amazing work of world literature on the endlessly elaborated theme of the war 1914. According to the French criticism, the novel is written in the spirit of the tragic naturalism. In a novel hatred for a civilization that has shed so much blood is expressed with utmost power. We intend to prove the consistently expressionistic nature of this work. If we use Gaston Bashlar's concept of «Poetics of Fire» as a methodology to identify the expressionist style, it is precisely the dominant archetype of fire that will enable to move the novel by J. Giono on a style scale from tragic naturalism to expressionism. G. Bashlar is a distinguished French philosopher, cultural scientist, literary scholar of the 20th century who explores dreams, in particular the creative dream described in his work «Psychoanalysis of Fire», which examines the images inspired by the contemplation of the fire. Also in this work, the philosopher identifies specific psychological complexes that allow deeper understanding of poetic works. All the manifestations of the fire G. Bashlar connects with the creative process. The main features of the poetics of expressionism in the novel of J. Giono «Big Flock» are as follows: the active use of the fire image that makes the work an example of «The Poetics of Fire» written by Gaston Bashlyar; the fragmentation of the plot; the inciting of the naturalistic pictures of mutilation and the death; the schematized character-images, the descriptions of human appearance compared to animals; the hyperbolization of every language means; the richness of the multiple tropes, the pervasive allegory of the «great flock», which enables to bring the generalizations to the scale of all humanity, to equalize the human and the animal world as an object of destruction, etc. Apparently, there is no expressionist means that wouldn’t manifest itself in this novel.

Once Again to the Dating of the Portrait of the Egyptian Queen in the Collection of the Pushkin State Museum of Fine Arts (I,1a 5355)

The article is devoted to the controversial dating of the sculptural portrait of the anonymous queen, originating from the former collection of V.S. Golenischeff (The Pushkin State Museum of Fine Arts. Inv. no. I, 1a 5355). B.A. Turaeff and later V.V. Pavlov dated the portrait of a queen to the Libyan or the Kushite Period (XXII and XXV Dynasties respectively) as being close to statues of Karomama and Takushit’s type. V.V. Pavlov inclined to date the Moscow portrait to the XXV Dynasty. The supposed dating of the portrait to the XXII–XXV Dynasties remained accepted until the publication in 2004 of a new catalogue of Egyptian sculpture in the collection of the Pushkin State Museum of Fine Arts. In the short article related to the portrait, O.D. Berlev dated it to the Amarna period and regarded it as the depiction of Nefertiti. The author of the present study considers this attribution as improbable. A thorough comparative analysis based on iconographic and stylistic peculiarities of the portrait of the anonymous queen led to the conclusion that the previous dating to the later date is preferable. For the revised dating of the portrait, other images of the Kushite Period (XXV Dynasty) are drawn – notably, the reliefs of Shepenwepet I and Amenirdis I in the sanctuary of Osiris-kheka-djet at Karnak and a copper figurine of a woman from the Fitzwilliam Museum (Inv. E.GA.4378.1943). Moreover, the closest parallel to the Moscow portrait is found – this is previously unpublished sculptural representation of an anonymous queen from the collection of the August Kestner Museum in Hanover (Inv. 1935.200.122).

ЖАНРОВЫЕ И ЯЗЫКОВЫЕ ОСОБЕННОСТИ ТОК-ШОУ “LARRY KING NOW”

The article examines genre and stylistic peculiarities of the TV talk show “Larry King Now”. The results of analysing stable and variable genre features of the American talk show are presented. The basic variable feature of this talk show is absence of the audience in the studio. The authors argue that entertaining presentation of informational and analytical content, peculiarities of linguistic arrangement impart individuality to Larry King’s show. It is shown that Larry King’s long-term experience as a talk show host helps to win the trust of the guests, popularity among the TV-viewers and allows distributing the program at TV channels of different countries and online.

ТАТУЮВАННЯ ЯК СУЧАСНА ДИЗАЙНЕРСЬКА ПРАКТИКА

Мета роботи - узагальнити теоретико-методологічні підходи до вивчення проблеми татуювання; виявити специфіку і лексемний зміст татуювання як сучасної дизайнерської практики; визначити й окреслити стилі, функції та види татуювання залежно від змісту й ознак цього явища. У статті досліджується татуювання як різновид дизайнерської творчості. Рукотворні мистецтва минулих тисячоліть із прогресом людства еволюціонували й нині становлять базу для розвитку мистецьких дизайнерських практик та духовного розвитку особистості. Процес нанесення стійкого малюнка на тіло методом місцевого травмування шкірного покриву із внесенням в підшкірну клітковину (дерму) фарбувального пігмента, внаслідок чого в деяких випадках народжуються шедеври прикраси тіла, – яскравий приклад дизайнерсько-графічного виду образотворчого мистецтва. Методи дослідження. У процесі дослідження використані традиційні мистецтвознавчі методи: історико-культурний, реконструктивно-модельний, історико-атрибутивний, хронологічна дескрипція, що сприяли розкриттю еволюції і трансформації татуювання в різних культурно-історичних контекстах. Поряд із загальнонауковими використаний компаративний метод порівняльного аналізу, який дав змогу проаналізувати об’єкт дослідження в просторі різних культурних реалій. Наукова новизна дослідження полягає в розкритті художньо-стилістичних та функціональних особливостей татуювання в контексті практикованого нині дизайну. Визначено основні засоби формування художньо-образних характеристик сучасного татуювання, окреслено композиційні прийоми формування художньо-образних рішень засобами, притаманними стилям і технікам сучасного татуювання. Висновки. Виявлено, що мистецтво татуювання становить важливу ділянку сучасного дизайну. Йому властива креативна образність, художня мова, стилістика й техніка. Ідею татуювання відображають композиційні візуальні зображення, створені в певній художній стилістиці із застосуванням конкретних технічних засобів та прийомів.

A The genre of piano concerto in the creativity of Carl Czerny

Relevance of the study. The genre of the piano concerto of the first third of the 19 century — is one of the most interesting components of the piano concert heritage. It is a rather large stratum of piano literature, which today hasn't received proper study. The innovations of the early romantic piano concerto are reflected in the works of pianists-composers of Austro-German music, among who is Carl Czerny, whose achievements have not received proper lighting yet.Scientific novelty. Czerny’s concerts are reviewed and analyzed for the first time, whose concert creativity has not been widely studied in Ukrainian musicology.Main objective. The purpose of the article is to consider the stylistic and compositional features of С. Czerny’s concert work and to determine its place in the piano concert art of the romantic era.Methodology. In order to reveal the peculiarities of С. Czerny’s composer style and to analyze his musical works, the methods of historical-comparative interpretation and theoretical generalization are used in this article. The discovery of stylistic peculiarities of piano concertos by С. Czerny, artistic-figurative content, structure, expressive and technical means, etc., was carried out with the help of musical-theoretical and performing analysis.Results. The most famous Austro-German piano composer of the first decades of the nineteenth century was Carl Czerny, whose creative work has not been adequately covered today. The artist created three concerts for piano and orchestra, which were created in the second half of the 1810s and 1820s. Turning to the innovations of C. Czerny in the concert genre, one must note the development of romantic traditions in the harmonious language, in particular, the strengthening of the lyrical and dramatic-pathetic beginnings of dramaturgy. In his works the diversity of the tonal coloration is noted, as well as the significant complication of the harmonic stratum. On the technical side, C. Czerny uses innovative techniques for the beginning of the 19 century, bringing to the brink of virtuosity the so-called “pearl” game. However, this did not lead to a compositional and dramaturgical disorder: all the concerts by C. Czerny are full of deep meaning and a truly sincere feeling, they are organic in the form and logic of musical development.Conclusions. Czerny’s piano concertos are a prime example of style changes, in which are tendencies of renewal of musical language, expansion of artistic means of expression (especially in the solo instrument parts), new compositional and textural solutions, a change in the ensemble ratio, etc. A deeper study of the creative heritage of Czerny will make it possible to trace the changes in musical thinking, which is most clearly expressed in the music of the first third of the 19 century. The concise analysis of concert art made in the article does not claim to be exhaustive and requires further study.

Linguistic, Pragmatic, and Stylistic Peculiarities of 2018 FIFA World Cup Representation in British Media-Discourse

The purpose of the present research is to analyse linguistic, pragmatic, genre and stylistic peculiarities of the articles from British mass-media which cover the organization and the results of the 2018 World Cup. The importance of such analysis is determined by the necessity to investigate the public evaluation of the phenomenon under study. This will contribute to the understanding of mundane interpretations of sport in a particular culture and analyse the means of the country’s image formation. Quality and tabloid newspapers were used as the basis for the analysis, with the aim of creating an integral picture of the world’s attitude to the World Cup. The methods of discourse analysis and the analysis of the communicative situations let the author conclude that political discourse has an enormous influence on sport discourse. The politicization of sport discourse happens because of the discussion of topics from the conceptual sphere POLITICS, through the inclusion of controversial issues, on which Russia has not yet reached an understanding with the world community, into defamatory contexts. In the framework of sport discourse, the ‘friend-foe’ opposition becomes explicit, which is also characteristic of political discourse. In the British mass-media the materials with a positive illocutionary intention are mostly realized alongside with the foregrounding of politically charged issues and axiologically marked concepts. The analysis of publications in foreign mass-media is important for the purpose of understanding that ambitious sport projects help to ruin the stereotypes about Russia and create a positive image of the country on the world arena.

Figurality of painting. Bologna beyond Informal Art

Between 1959 and 1962 Italian painting made a gradual transition from the materialism of the Informal to new forms of figuration full of organicist and surrealist moods. Bologna is undoubtedly one of the cities that best represents this turning point: the research conducted between the late Fifties and early Sixties by Vasco Bendini, Pirro Cuniberti, Luciano De Vita, Giuseppe Ferrari, Mario Nanni, Leone Pancaldi, Concetto Pozzati and Sergio Vacchi confirms this. Their work is included in important national exhibitions such as Possibilita di relazione (Rome, 1960), Nuove prospettive della pittura italiana (Bologna, 1962), Alternative attuali (L'Aquila, 1962) or the 1964 Venice Biennale and is followed and supported by many important Italian critics such as Francesco Arcangeli, Renato Barilli, Maurizio Calvesi, Enrico Crispolti and Andrea Emiliani. This essay aims to outline the essential features of the artistic situation in Bologna at the end of the Fifties and to focus on the stylistic peculiarities of the individual authors with the support of critical voices who promptly commented on them.

Stylistic Diversity in the Corpus Ciceronianum and in the Corpus Paulinum: A Comparison and Some Conclusions

ABSTRACT The Corpus Paulinum can roughly be divided into four letter groups, the Thessalonian letters, the Hauptbriefe, the Prison Letters, and the Pastoral Letters. As New Testament style criticism has revealed, each of these letter groups displays a number of lexical, syntactical, and other stylistic peculiarities. In order to interpret this stylistic diversity in the Pauline corpus on a broader basis and to explore all possible explanations for the different stylistic phenomena, it proves helpful to take into account the scholarly explanations for similar style differences in the much larger oeuvre of Cicero. Cicero’s writings confirm the prevalent observation that the same ancient author could write in very different styles. In addition, they demonstrate how different communication situations, different text genres, and different addressees could influence not only Cicero’s but also Paul’s style.

Bracelet from Salamatino: Problem of Identifying Zoomorphic Images

The article is devoted to the analysis of zoomorphic images on a spiral gold bracelet from the Sarmatian burial of the 1st century AD in Salamatino village in Volgograd region, as well as the problem of interpreting the image of a fantastic animal on the bracelet ends. The stylistic and technological peculiarities of the jewelry can serve as indicators of cultural identity of the subject. The bracelet is made, most likely, by a barbarian craftsman modeled after some kind of non-locally made jewelry. The closest dupe in compositional and pictorial characteristics to the incomprehensible animal on the ends of the Salamatino bracelet is a fantastic creature on the pair of bracelets from the Oxus Treasure (British Museum), stylistically different from the images of Iranian art of the Achaemenid era. The origin of this pair of bracelets is unknown, however, some stylistic features allow for non-exclusion of the assumptions of Chinese or Central Asian jewelry production or the existence of certain jewelry workshops in a region affected by the cultural influence of both Iran and China. Another distant analogy in style for the pair of bracelets from the Oxus Treasure is represented by images of predatory animals on gold torcs from the Stavropol treasure. The chronological gap between the Salamatino bracelet and the jewelry from the Oxus and Stavropol treasures does not allow one to link them unequivocally, but the similarity features certainly indicate the presence of common cultural roots. Identifying a fantastic hybrid animal on the ends of the Salamatino bracelet as any specific mythological creature is not yet possible.

ТВОРЧЕСТВО А. Р. МОТЫЛЁВА: ОБРАЗ И ФОРМА

The author traces the evolution of the creative work of A. P. Motylev, one of the vivid, outstanding representatives of Saint Petersburg school of easel enamel painting, in the period from 1988 to 2018. The following periods of his creative activity are identified: the period of training and formation as an enamel painter and a graphic artist (1988-1998), the period of establishing an individual artistic style (1998-2010), the bloom of creative activity (from 2010 till the present time). The paper aims to identify the technical, technological and stylistic peculiarities of his artistic language, as well as the factors influencing the enamel painter’s individual style.

PERFORMANCE-STYLE FEATURES OF THE CONCERTO № 3 FOR CLARINET AND ORCHESTRA BY L. SPOHR

The purpose of this scientific investigation is the disclosure of the creative phenomenon of German composer L. Spohr in wind contemporary academic music and performing art by identifying the most characteristic performance and the stylistic peculiarities of creator that is instrumentally artistic speech. The material of this study is the well-known Concerto № 3 for Clarinet with symphonic orchestra by L. Spohr. The methods of this scientific intelligence are in the application of general scientific approaches to the study of a particular topic. The historical method is used to highlight the place of clarinet masterpieces and, in particular, Concert № 3, in the palette of the artistʼs creative achievements. The comparative method creates the possibility of comparing a number of clarinet means of expression with the artistic potential of string-bow performance. The sequence of presentation of the material is determined by the action of the structural-analytical method. Methods of observation and generalization are of practical importance. The scientific novelty of this specialized disquisition is due to the insufficient study of the clarinet works of L. Spohr in the light of modern musicological thought. Conclusions. The distinctiveness of L. Spohrʼs performance- stylistic peculiaritics of instrumental speech in clarinet Concerto № 3 for clarinet and orchestra is marked, first of all, by the use of various types of virtuosity (shallow, combined, large virtuosity), the performance of various types of melismatics both in slow and melodic ways, the use of high and ultra-high sound registers of the instrument (note to the fourth octave), which, we emphasize, comes from the violin academic artistic and creative activity of L. Spohr and, in general, and of high performing skill as a virtuoso violinist.

Zoonymic Peculiarity in Feature Cartoons for Children

Objective. The object of studying is the English texts of feature cartoons for children, while its subject is psycholinguistic peculiarity of zoonyms in feature cartoon texts. The main goal of the research is to find out the psycholinguistic organization of zoonyms in the English language feature cartoons for children. The objectives are to classify zoonyms’ origin, to differentiate sphere-sources and motivation of zoonym nomination, to highlight stylistic peculiarities of zoonyms.
 Materials & Methods. Specific methods and techniques are determined by the purpose and material to be analyzed, such as induction and deduction, analysis and synthesis, abstraction and concretization; longitudinal, processing and interpretation methods; psycholinguistic analysis; method of context-semantic analysis; the procedures of quantitative-qualitative calculations and the method of integral choice. Materials for the research are gathered from Paramount Pictures production, Dream Works animation, Universal Studio, Walt Disney production and the selection is the English feature cartoons for children, such as ‘The Lion King’, ‘Balto’, ‘Kung Fu Panda’, ‘Madagascar’, ‘Alpha and Omega’, ‘Shreck’, ‘Ferdinand’, ‘Puppy Dog pals’, ‘Ice Age’ etc.
 Results. The article dwells upon the psycholinguistic aspect of zoonyms in the English language feature cartoons for children. In the sense of changing the direction of linguistics from language to speech and communication, it is impossible to consider linguistics excluding the anthropological factors such as mentality, culture, behaviour and development of a man individually and of mankind as a whole. In this paper, the ways of forming a world view of a man are presented, which is also formed by a linguistic world view, fauna is distinguished as an emerging element of knowledge influencing on human’s cognition. Taking into account the fact that the world view about fauna is formed in the person’s mind from the first days of life observing nature, listening to the lullabies, watching cartoons, the object of this study is feature cartoons for children, and the subject is zoonyms. In the course of the research, methods and techniques such as induction and deduction, analysis and synthesis, abstraction and concretization, the method of material sampling, quantitative calculation procedure are used to determine the frequency of this phenomenon usage. As a result, it is found that in the English language feature films for children, the names of the English, Scottish, Spanish, French, Italian, German, Chinese, Latin and Greek origins are used in zoonymy. Spheres-sources of zoonymy are multi-anthroponyms, single anthroponyms, toponyms, names of products, fitonyms and actual names of breeds and classes of animals. Nominative motivation is outlined by external features, behaviour, application of an animal, its breed and class. Stylistic peculiarities of zoonymy in the English language feature cartoons for children are such figures as the epithet, the metaphor, the personification and the euphony.
 Conclusion. The article is the basis for further research in linguistics, anthropological linguistics, psycholinguistics, sociolinguistics, biovital linguistics and onomastics.

ВОКАЛЬНА ПІДГОТОВКА МАЙБУТНІХ ВЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА В НАВЧАЛЬНОМУ ПРОЦЕСІ ЗАКЛАДІВ ВИЩОЇ ОСВІТИ УКРАЇНИ

The article analyses the principal aspects pertaining to the formation and development of vocal and performance capacities in students of musical and pedagogical faculties (institutes, departments) within higher education institutions of Ukraine.One necessary prerequisite to ascertain creative assignments of a future teacher of musical arts is for the teacher to be skilled and trained in principal techniques of vocal mastery. Unless this prerequisite is secured, the teacher shall not be able to implement his or her creative ideas in his or her professional activities.In the process of training of a student mastering vocal singing, his or her voice box (vocal apparatus) as well as voice range undergo a process of development; the vocal singing student masters certain technical skills and abilities pertaining to singing, miscellaneous means of vocal and musical expression, stylistic peculiarities of works that are being performed. In order to expand the general outlook, it is necessary to be familiarised with certain fundamental knowledge from the realm of theory of singing. Vocal development and training are streamlined according to an individual plan elaborated by the teacher. The teacher must consider individual peculiarities of a student, his type of voice, timbre, voice range, acoustic intensity, and his ability to utilise various types of cantatory inhale.One important problem in the course of training of a future teacher, preparing him or her to vocal and pedagogical creative activity is to form psychological qualities pertaining to the personality of the teacher. If the said qualities are properly shaped and developed, this will enable the future teacher to successfully solve creative challenges which he or she is expected to face in the process of training and education.A voice placement teacher must always communicate with the student, and must always be aware of how his or her studies, creative work, and academic researches are going – in order to be able to develop potential capacities of each student and shape a skilled and qualified teacher of music who is, at the same time, a true patriot of Ukraine.

GRAMMAR OF TIME IN UDMURT SOCREALISTIC POETRY: GAI SABITOV’s CREATIVITY

This article discusses the individual structural-semantic, grammatical and stylistic peculiarities of the poetic texts of Gui Sabitov, who is one of the brightest representatives of the Udmurt socialist realism. Udmurt socrealistic idiostyles as a national-specific variant of this artistic method has never been the object of interpretation. The relevance of the study is dictated by the insufficiency of the linguistic and poetic approach in considering the phenomenon of development of Udmurt literature, the lack of scientific works focused both on the grammar of poetry and on the temporality category of the poetic whole, its artistic contexts. The article analyzes the multi-level relationship of the grammatical sphere and the artistic semantics of G. Sabitov’s texts, shows the interconversion of form and text content, linguistic elements, the ideological plan of expression and the individual author’s worldview. The novelty is the selection of the main grammatical and lexical segments of the lyrical translation of temporality, the identification of scenarios of individual author semantization of the present tense, the study of Gui Sabitov’s poetic corpus from the point of view of linguistic realities that are projected onto the Udmurt Soviet literature in general.