Stylistic Trends Research Articles

РОЗВИТОК ВИКОНАВСТВА НА УДАРНИХ МУЗИЧНИХ ІНСТРУМЕНТАХ: ВІД ЙОГО ЗАРОДЖЕННЯ ДО ПОЧАТКУ АКАДЕМІЧНОГО ВИЗНАННЯ

The article offers a detailed overview of the historical path of development of performance on percussion musical instruments, starting from their original functions in ritual rites and ending with the formation of modern academic status, including various musical and stylistic trends. The study covers a wide chronological period, allowing us to trace how the perception of percussion instruments in society and musical art gradually changed. The influence of different cultures on the development of performance on percussion instruments is studied. The evolution of technical techniques of playing percussion instruments is analyzed, noting how rhythmic patterns, dynamic nuances, and technical capabilities of performers became more complicated with the development of music. Special attention is paid to the development of the repertoire for percussion instruments. An important aspect of the research is the analysis of the organization of learning to play percussion instruments. The author traces how teaching methods changed, new teaching aids were developed, and special educational institutions were created to train professional drummers. The article also highlights the key stages of recognition of percussion instruments as an integral part of orchestral and solo performance. Issues such as the inclusion of percussion instruments in a symphony orchestra, the development of a solo repertoire for percussionists, as well as the emergence of new genres of music in which percussion instruments play a leading role, are considered. Based on the conducted research, the author emphasizes the importance of percussion instruments in modern musical culture. Percussion instruments have become a universal means of musical expression, capable of conveying a wide range of emotions and creating various sound images. They have found wide application in various musical styles, from classical music to jazz, rock and electronic music. Percussion instruments have demonstrated their ability to adapt to ever-changing musical conditions. They became carriers of new sound ideas, expanded the possibilities of musical expressiveness and enriched the sound palette of modern music.

Architecture of unique multi-storey residential houses of China

A brief analytical review of unique multi-storey residential complexes in the latest architecture of China, which demonstrate a variety of author’s concepts in the field of form formation and stylistic trends against the background of mass standard development, is presentd. A general promising trend in the development of architecture associated with environmental orientation and orientation towards the formation of ideas about future architecture based on interaction with nature is revealed. The objects are given, the authors of which are not only famous Chinese architects, but also famous foreign architects. At present, Chinese architecture is a combination of Chinese traditions and innovation, characteristic of world architectural practice. At the same time, in the unique residential architecture, there is an increase in the number of storeys, the inclusion of public functions in the structure of inclusion in the structure of an apartment building, attention to the search for figurative expressiveness, the introduction of modern high technologies that affect the appearance of buildings, and the creation of sustainable eco-friendly architecture.

Неореалізм у літературі ХХ століття: проблеми термінологічного визначення та рецепції в Україні

The stylistic trend of neorealism developed in many countries throughout the 20th century – from the era of decadence to the postmodern period. This development is related to new modernist trends and ideas, not just classical realism. The purpose of the study: to introduce the concept of "neorealism" into a wider context. The theoretical basis is the historical-literary analysis and comparative comparison (comparative-typological and receptological methods). The influence of realist traditions is undeniable in the early works of the avant-garde James Joyce and even in the search for a new manner of prose writing – "stream of consciousness" – in "Ulysses". Vivid examples of the complex interaction of the realistic tradition of the 19th century and modern ideas are the works of Luigi Pirandello, Thomas Mann, and other modernists. The new philosophical foundation of realism in the 20th century is modern "philosophy of life" and existentialist philosophy. Italian neorealism as an independent stylistic trend began to emerge already in the period of the approach of the Second World War and immediately after it, when it received recognition in criticism. Italian criticism gave this current the name "neorealism", borrowing from philosophy and considering the bygone era of realism. In the middle of the 20th century the development of neorealism is conditioned by the crisis state of culture in post-totalitarian societies, primarily by the need to overcome totalitarian myths and stereotypes of the mass consciousness, caused by the dominance of propaganda and political or aesthetic dogmatism. Neorealist art is connected with the development of mass culture. However, true neorealist art was not able to overcome totalitarian prejudices and stereotypes everywhere. The revival of imperial totalitarian ideology in modern Russia is connected with the "dying" of neorealism in the 1950s and 1980s. In the literature of the former USSR, neorealism opposed socialist realism. Officially declared in the totalitarian world under the control of the Soviet Union, the trend of social realism purely formally declared the principles of realistic art, in particular "the true reflection of life", but had nothing to do with neorealism, except for the external entourage and declarations.

Формирование новых художественных приемов в оформлении спектаклей русской антрепризы на рубеже XIX-XX веков на примере театральных эскизов А. Бенуа, Л. Бакста, Н. Рериха и К. Коровина из фондов Государственного Русского музея

The purpose of the study is to identify the author’s artistic features and the processes of formation of new visual concepts in the design of performances of the Russian theatrical concern at the turn of the 19th-20th centuries in the set design works of A. Benois, L. Bakst, N. Roerich and K. Korovin, based on the analysis of rare sketches from the State Russian Museum. The article examines the key aesthetic and artistic trends that became decisive in the design of theatrical scenery during this period, as well as analyzes the influence of social, cultural and historical factors on the development of stage design. The issues such as the interaction of various art schools, the influence of European trends on Russian theatrical scenography and the development of stylistic trends in the design of performances are also considered. The research is based on the study of sketches that had not previously been shown to the general public and were not included in scientific publications, which characterizes them as a unique artistic material. The scientific novelty of the research lies in the systematization and analysis of sketches in a closed collection to identify innovative visual solutions in the context of socio-cultural changes and public attitudes of the specified period. The result of the study suggests the identification of individual artistic features in the theatrical work of each of the declared masters, which will allow us to talk about the Russian theater as a complex multifaceted system in which visual concepts are an integral part of an individual artistic solution.

New trends in the creation of the composer Ghenadie Ciobanu in the 2020s

This article is devoted to the study of the new stylistic trends in the latest works of Professor, Doctor of Arts, composer Ghenadie Ciobanu, created at the turn of the second and third decades of the 21st century. The author presented, in the form of an article in three sections, the results of comprehending the innovations in the context of the composer’s creative fruitful path. The first of them proposes a brief overview of the post-avant-garde and postmodernist periods of Gh. Ciobanu’s work, which prepared the platform for the birth of new stylistic trends in the first decades of the current century. The second section examines the new cultural paradigm of “metamodern”, which influenced the formation of new creative trends in the last decade. The third section is devoted to the analysis of his latest works for solo wind instruments “Fairy Tales” and “Dreams of Clouds”. In conclusion, the high artistic value of these works is determined, in which the crystallization of innovations took place, which made it possible to predict the onset of a new stylistic turn in the works of the composer Gh. Ciobanu.

Ways of exploring and expressing contemporary artistic practices for young artists

This article is focused on exhibition projects that encourage and stimulate young artists, whether students or graduates of higher art education, to explore various means of plastic expression and to experiment with different techniques and artistic formulas. Connected to the dynamics of contemporary society, aligned with current stylistic trends, and interested in the latest advancements in technology, the young artists have a highly expressive and dynamic artistic discourse that reflects their creative potential. Thus, various artistic institutions, either individually or through partnerships, offer them multiple opportunities to gain a stronger presence on the art scene and provide ways to configure the artistic projects as platforms for debate and dialogue, intellectual, emotional, relational, and creative development. Exhibition projects dedicated to young artists play an important role in stimulating creativity, develop their certain skills, and they receive valuable feedback from art critics, curators and other artists.

Architectural Modernisation in Panevėžys During the 1930s: Exploring the Works of Civil Engineer Antanas Gargasas

Summary In contemporary studies of Lithuanian interwar architecture, so far the greatest attention is paid to the analysis of the architectural development and modernization processes that took place in the city of Kaunas, the temporary capital of the country at the time. The work of architectural specialists who worked there is also analysed more. However, at the same time, little is known about the development of architecture created in the smaller cities of Lithuania at that time and its modernization. Thus, this article aims to more thoroughly reveal and analyse the processes of modernization of Panevėžys city architecture that took place in the 1930s, choosing the designs of Antanas Gargasas, who worked there as a municipal engineer in 1931–1940, as the research object. This is done in the article by analysing and presenting the majority of his designed public buildings and the most significant and typical residential buildings. The article, which was written based on archival material, the press of the research period and the contemporary studies of the interwar architecture, contains an assumption that the buildings designed by Antanas Gargasas had a significant influence on the processes of modernization of the Panevėžys architecture at that time and the spread of new stylistic trends in it. The article is supplemented by the drawings and photos of the buildings designed by the engineer.

ARTISTIC DIALOGUE IN UKRAINIAN CHAMBER AND INSTRUMENTAL MUSIC AND ITS KEY TRANSFORMATIONS

The article examines the manifestations of artistic dialogue, focusing on chamber and ensemble music by Ukrainian composers of the 20th and 21st centuries. Artistic dialogue as a reflection of the main vectors of chamber music development in composers’ explorations influenced the processes of enrichment and transformation of its expressive field, and its specificity shaped the national character of this field. It has been shown that the interaction of the artist with cultural and artistic layers is effective in developing a comprehensive understanding of the processes of musical creativity in the dichotomy between tradition and innovation. Built into the composer’s idea, the communicative features of the artistic dialogue make it possible to outline the specifics of chamber music, its coordinates of cultural and artistic identification such as the internal artistic concept and the external artistic and stylistic space. In the interaction of the artist with various artistic fields, the author traces and identifies the patterns of development and vectors of innovation that influence the development of chamber music as a component of Ukrainian musical culture and contribute to its holistic understanding in the interdependence of artistic processes with European artistic trends and worldviews. The integrity of the expressive field of chamber and ensemble creativity is studied in several artistic and dialogical sections that reveal its essence and key changes. The components of the composer’s worldview and stylistic trends of the time establish the idea of the national character of Ukrainian chamber music of the early twentieth century, where the features of the late romantic style are embodied through Ukrainian coloristics, generous use of Ukrainian intonation and harmony complexes, genre models of folk art, programmatic approach, etc. This is confirmed by Mykola Lysenko’s search for chamber and ensemble genres by his followers, composers of the Halychyna school of composition of the first half of the twentieth century. A more complex version of the embodiment of national elements is the work of Borys Liatoshynsky, where entire creative periods of life are formed at the crossroads of Ukrainian and Slavic themes. Through the study of the composers’ schools, their professional, cultural and artistic attribution, two models of chamber music development are distinguished: hermetically academic, associated with the influences of Lysenko and his followers, and innovative, open to comprehensive genre and style transformations in the dialogical interdependence of academic tradition and experimental explorations, associated with the school of Liatoshynsky. The artistic dialogue in the communication of Ukrainian artists with the innovative processes of European stylistic discourse made it possible to trace the distinctive features of genre transformations in the chamber and instrumental music of the second half of the twentieth century and to identify their fundamental stages. Artistic dialogue is at the heart of the activities of performers of chamber and instrumental music, representing the dialogic nature of composers’ explorations and performers’ interpretations. The performing aspect is covered in several ways: as a process of organizing performance by the community of ensemble players; as a search for a coordinated position in the performing interpretation of the composer’s stylistic image; as a performing and stylistic embodiment of the author’s intention in ensemble interaction

REVIEW – A VALUABLE EDITORIAL APPEARANCE IN THE FIELD OF THE LOCAL LANDSCAPE: LANDSCAPE AESTHETICS IN FINE ARTS IN MOLDOVA

The monograph Landscape Aesthetics in Fine Arts in Moldova, Chișinău: CEP Publishing House, USM, 2024, second edition (first edition, 2021), is a work carried out within the Postdoctoral Program (2021-2022), Strategic Priority – Societal Challenges, with the theme: Morphological stylistics in interior design, architecture, fine arts in Moldova, with the project code 21.00208.0807.00/PD, authored by Angela Munteanu. The paper discusses the issue of the evolution and constitution of the landscape genre in the fine arts in Moldova. The monograph Landscape Aesthetics in Fine Arts in Moldova reflects the periods of evolution and development of the landscape genre through stylistic trends, representatives of different schools of painting, graphics, and decorative arts, and artistic currents, resulting in a truthful panorama of the artistic process in Moldova.

A Theoretical Review Towards a Conceptual Framework for Creating ‘Neoclassic Big-Band Highlife Music’

It is a truism that highlife, Ghana’s first acculturated popular music, presents various styles employing various musical ensembles and playing to different audiences. However, the diverse highlife stylistic trends have declined in musical works recently due to generational differences and tastes. As a result, modern-day recorded highlife compositions sound similar and, in some cases, the same. Despite its iconicity in Ghanaian popular music, it is also quite surprising that highlife music still struggles for compositional and theoretical relevance in Ghanaian academic programmes of schools, colleges and universities. This paper, therefore, presents a characterisation of the diverse highlife music trends as an attempt to develop a conceptual framework for creating ‘neoclassic big-band highlife music’ that transcends diverse styles and generational tastes. Drawing on my experience as a highlife practitioner and music educator, I reviewed theories, concepts, and literature relevant to highlife music to conceptualise a framework for creating works that transcend the generational differences and tastes of highlife music. This paper expands the frontiers of highlife music practice and scholarship. Therefore, it is not just a recommendation but a call to action for Music composition professors to adopt this conceptual framework as a blueprint to begin a taught course on ‘Highlife Music Composition’ in music institutions. The involvement of Music composition professors in this process is crucial to enhancing the structural and theoretical trajectory of highlife music.

Выставочное пространство российских музеев как объект культуры

The article examines the exhibition space of Russian museums of the Soviet and post-Soviet periods as an object of culture. Emphasis is placed on its importance in shaping and reflecting social values, and the evolution of exhibition spaces, design elements, and the role they play in presenting, interpreting, and preserving cultural heritage are examined. The discussion covers the layout, interconnection and functionality of the various zones inside the museum. The tasks in designing architectural and artistic solutions for museum complexes are perhaps one of the most difficult in environmental design. Here it is necessary to take into account functionality, ergonomics, aesthetics, subordinating them to the general concept of the museum complex, considering the regularity of the location of objects, the movement of visitor flows, the zoning of space, taking into account the safety and preservation of cultural objects. The article highlights the design features of the museum space of the XX–XXI centuries, taking into account historical changes, political realities, stylistic trends and trends in art.

LITERARY REFLECTION OF THE WAR IN THE WINNING WORKS OF THE CONTEST “HEROIC NATION CREATES HEROES” : GENRE AND STYLE FEATURES

The paper deals with the genre features and stylistic trends of short prose texts presented at the Open Patriotic Festival-Contest in Kyiv Borys Hrinchenko University (June 2022). The aim is to understand the artistic features of the works by young Ukrainian authors written after February 24, 2022. The dominance of short genres is determined by the fragmentation of the world picture and the awareness of the gap between the past and the present. At the same time, the paper pays due attention to the actualization of mythological thinking based on the understanding of the metaphysical nature of war.
 The genre of the literary diary is undergoing a process of hybridization. The factual nature of diary entries often interacts with the genre forms of interviews, reports, and various structural modifications of the short story. The stylistic, topical, and compositional variability of the short story is examined within the context of the significant literary tradition established by Ukrainian modernism, while noticeable neo-realist and neo-populist tendencies shape the authors' pictures of the world as well. For modern authors, the relevance of populism and realism as literary systems is explained by the need for a trustworthy representation of the war events and the development of plot models that are familiar and understandable to a wide range of readers. The paper also explores ways of updating the genres of parable and vision, with which the short story actively interacts. The fantasy genre is interpreted from the perspective of postcolonial criticism. The world of fantasy, based on neo-mythological thinking, actualizes important existential problems of memory, national identity, and resentment in the modern context. Resentment as a natural reaction to the actions of the enslaver reveals its constructive nature, awakening the will to fight and win.

АРХИТЕКТУРНАЯОБРАЗНОСТЬВКОНТЕКСТЕРАЗВИТИЯИНФОРМАЦИОННО-КОММУНИКАЦИОННЫХТЕХНОЛОГИЙ: «НОВАЯЗРЕЛИЩНОСТЬ» ИКИБЕРПАНК

The development of new information and communication technologies not only offered architecture new tools, but also largely changed the very content of architectural imagery. One of the sources of new artistic images of modern megacities has become the virtual world of computer video games. The purpose of the article is an attempt to study changes in urban spaces under the mutual influence of urban planning, architecture and the virtual environment of computer games. This work examines in more detail the influence on the artistic imagery of modern architecture in such areas as cultural trends generated by information, communication and virtual technologies and the “game design” of computer games, and also examines such a phenomenon as cyberpunk. Several sources of visual imagery of this trend have been identified, including cinema and stylistic trends born in the twentieth century (brutalism and metabolism), as well as the urban aesthetics of eastern metropolises with their mixture of different cultures, high technological development and high building density. The author defines the characteristics of cyberpunk architecture and provides examples of real architectural objects that can be attributed to this direction.

Socio-cultural tendencies of the design evolution

The authors conducted a retrospective review of the design and resolved the relevant question of its socio-cultural essence within the framework of scientific and practical spheres. Research methodology is based on the use of systemic-structural, socio-cultural, synergistic, art- historical, and praxeological methods, which gives grounds for considering design at the junction of technological, intellectual, and artistic cultures. Attention is focused on the relationships of functionality, technological efficiency, and aesthetics in the process of designing various objects, regarding stylistic trends of certain periods and regional specifics, which makes it possible further didactization of the interdisciplinary design researches. During the 20th century technical aesthetics was formed as the theory and methodology of design, which includes compositional forming, ergonomics, bionics, technical standardization, projecting, and modeling. It is noted that design activity considers technological, political, socio- economic, and artistic changes in society, which significantly affect design education. Moreover, design processes are dynamic, and heterogeneous, with local and national features. The theoretical significance of this study will be relevant to the development of integrated educational and professional programs in Ukraine.

Hryhoriy Kvitka-Osnovyanenko as a founder of prose genres of the Ukrainian literary language

The article analyzes the role of the creative work of Hryhoriy Kvitka-Osnovyanenko in the formation of the novel Ukrainian literary language. The writer laid the foundations of two linguistic and stylistic trends of Ukrainian literary prose, namely laughing and humorous one thus continuing the Ivan Kotlyarevskyi’s activity, and a new for the Ukrainian literature sentimental one. The article is mainly focused on highlighting the vernacular specificity of the H. Kvitka-Osnovyanenko’s stories and novels reflected in phonetic, morphological and syntactic features. The lexical structure of the writer’s language, which is based on the contemporary patois of the Slobozhanshchyna region with Church Slavonicisms and Russianisms inclusions, is studied in detail. The wealth of the synonymous series as well as the high variability of the word forms, which may be explained by the absence of stable norms at the initial stage of the formation of the literary language, are noted. The lexical irregularity and territorial proximity to the Russian dialects areals led to some cases of the parallel use of Ukrainian and Russian lexemes to denote the same realities in the texts of H. Kvitka-Osnovyanenko. Searching for linguistic means for the formation of a high style, the writer turned to folklore sources as well as to imitation of contemporary works of the sentimental Russian literature. The results of the study have proved that the folklore sources used by H. KvitkaOsnovyanenko organically complemented the vernacular nature of his works, while the linguistic and stylistic adoptions from the Russian literature broke the homogeneity of the linguistic basis of individual works of the sentimental genre affecting their ideological and thematic solution. However, these drawbacks do not diminish the fundamental importance of the legacy of the first Ukrainian novelist in the history of the Ukrainian literary language. Keywords: Ukrainian literary language, Slobozhanshchyna patois, Church Slavonicisms, Russianisms, lexical variability.

Neoclassicism with a British Accent: Edwardian and Georgian Reflections in Russian Architecture of the 1900s–1910s

The article is dedicated to one of the stylistic trends of architecture of the Russian Empire in the early decades of the 20th century, namely neoclassics. The repertoire of classical architecture as such is cosmopolitan, but the very idea of arousing the classics at the beginning of the last century, marked by the appearance of Art Nouveau and the beginnings of modernism, turned out to be equally close to Great Britain in the Edwardian era and Russia during the time of the last emperor. This unanimity in the rejection of stylistic innovations is interesting as a phenomenon and undoubtedly deserves special study. At this stage, it can be stated that in Russian neoclassicism there was also a place for Anglomania, which was expressed, however, not in formal echoes of the Edwardian style, but in an interest in the history of the British classical tradition (primarily, the architecture of the Georgian era). The Edwardian idea of reviving the noble style of the past was embodied in Russia both in direct appeals to the legacy of Charles Cameron, who, serving the order of Catherine the Great, was an agent of Georgian architecture, and in an appeal to English scholars, who provided rich material on ancient Roman archaeology. The English influence in Russian neoclassicism is traced in the article from the very beginning (i. e. the moment when the Mansion of the Racing Society in Moscow, considered the first building of this stylistic movement, was designed by Ivan Zholtovsky in 1903) through the programmatic “Cameron-style” architecture of the Prince Sergey Shcherbatov’s house in the same place, created by Alexander Tamanyan, to those “Georgian” apartments inside the Palace on the Moika river embankment that were designed by Andrey Beloborodov for Prince Felix Yusupov, one of the most famous Anglomaniacs of St. Petersburg. “Georgian” reflections are also found in the Moscow mansion of Gavriil Tarasov built by Zholtovsky. Its exterior contains some references not only to Palladio’s Palazzo Thiene (Vicenza), but also to London’s Burlington House designed by Colen Campbell. Thus, the British “accent” in Russian neoclassicism of the 1900s–1910s sounds no less obvious than the Italian one.

Украшения деревянных домов и старообрядческих рукописей второй половины XIX – начала XX века: к вопросу об общности композиционных элементов

In the diversity of the ornamental decoration of the Old Believer handwritten literary artefacts, one can distinguish stable stylistic trends and book design techniques that have developed in the regions where the Old Believer population is densely populated. In addition, in the book decoration of the late Cyrillic manuscript tradition, there are a lot of original elements that do not fit the description of traditional forms of well-known ornamental styles. Such book decorations, as a rule, are designated as authors. One of the variants of the authors solutions in the manuscript decoration is the use of motifs of folk arts and crafts. The purpose of this study is to determine a connection between the art of decorating Old Believer manuscripts and one of the areas of folk arts and crafts – house painting and carving of the second half of the 19th – beginning of the 20th centuries. The source base is the Old Believer ornamented manuscripts of that time, which are stored in the Repository of the Ural Federal University’s Laboratory of Archaeographical Studies. Using the method of comparative analysis of the ornamental decoration of Old Believer manuscripts and elements of external paintings of wooden houses (gables, the space under the roof around the upper window and the closing of the eaves overhang, etc.), we managed to find similarities and a common symbolic component, the meaning of which was to demonstrate the strength and well-being of the house, reliable protection, and also showed the dream of beautiful gardens of Eden. Book decor with such motifs can be seen more often in singing manuscripts, where the beauty of the musical text was reinforced by the rich colors of the drawings of the Divine abodes. The ornamented initials of the manuscripts are often very close to the expressive tracery in house paintings. Novelty in the methods of designing a handwritten book in the second half of the 19th – beginning of the 20th centuries consisted in rapprochement with the folk arts and crafts of painting and wood carving. If in an earlier period book decoration was distinguished by some “elitism”, since it had its own strict stylistic and typical features, its own schemes and rules of construction and occupied a separate niche in the art of the book, now it has come close to folk crafts, reflecting the brightness, beauty and immediacy of a folk art. A new step in the study of the ornamentation of manuscripts of the late tradition became the study of its connection with the art of house painting and woodcarving. The study of this type of ornamental decoration will allow us to take a broader look at the problem of Cyrillic literacy, which is closely related to other types of art, and will also provide an opportunity to see and fully appreciate the creative potential of Old Believer scribes.

Some Questions of Artistic Design of the “New Testament” of 1702 from the Collection of the State Hermitage

This article is devoted to the precious frame of the “New Testament”, which was published in the Moscow Print House in 1702. This book was presented by Stefan Yavorsky to tsarevich Peter Petrovich, who was born on October 28, 1715. After the death of Alexander II (1881), the book was placed in the sacristy of the Great Church of the Winter palace. The small book represents a bright work of the culture of Peter the Great’s time. Its precious decoration should be dated to the time between 1702 and 1715. The gift made to the prince by the Ryazan Metropolitan is connected with the biography of this church hierarch, known primarily as the author of sermons, but also as customer of icons. The date of the presentation of the “New Testament” (November 12, 1715) to Peter Petrovich is close to Stephen’s letter to Peter (November 14), in which the Metropolitan congratulated him on the birth of his son and prayed to let him go to Nizhyn to consecrate the church, “to offer there a sacrifice for the newborn prince”. This is the matter of the main church of the Nizhyn Monastery, founded by Stephen himself. A precious gift, decorated with gems, was supposed to strengthen the petition of the Ryazan Metropolitan. The composition of the frame includes minuscule icons with images of four evangelists and Crucifixion. They were created by one of the best Moscow icon painters from the early 18th century and show him as a great connoisseur of the art of icon painting. Shoulder-mounted images of the evangelists and the Crucifixion of Christ are executed in the traditions of icon painting of the Armory Chamber and belong to the monuments of the leading stylistic trend in Moscow painting of the late 17th — early 18th centuries. The general composition of the decoration of the New Testament frame goes back to the design of the luxurious liturgical Gospels.

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

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

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

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