Stylistic Unity Research Articles

W. A. Mozart’s Fantasia in D minor K. 397 and L. van Beethoven’s Piano Sonata Op. 31 No. 2: Semantic and Performance Aspects

Background. The issue of performance interpretation is one of the most debatable in musicology. The article states that tonality of a musical piece is a factor that determines the performance strategy. There are many examples showing that the composer’s choice of the tonality was not accidental, rather was determined by tradition, artistic design, and the composer’s own life experience. The purpose of the article is an attempt to “decipher” the meaning of the two works in the key of D minor – one of the most meaningful and symbolic tonality – from two perspectives: musical and extra-musical contexts in order to reveal the performance strategy. Literature review. The study of the recent research and publications indicates that there is a lack of works investigating semantics of tonalities from two perspectives: 1) the influence of tonality on the composition and dramaturgy of the work; 2 those performance means by which the semantics can be “deciphered”. This statement can be substantiated by the work of L. Kazantseva (2006). Among the works on this topic is the dissertation of E. Hackmey (2012) on Mozart “Fantasy in D minor”, where the author traces the influence of this key on the composer’s work; a chapter from L. Kyrylina’s book about Beethoven (2009), which refers to the composer’s perception of this key; the article by D Schroeder (1990) discussing parallels and mutual interdependences between Beethoven, Strindberg, Berg, and others. The novelty of the study is manifested in the formulation of such questions as 1) the dependence of the composition and dramaturgy of a musical work on its tonality; 2) the ways in which tonality specifies the performance strategy. Research methods. The study uses four main methods: 1) historical, which allows considering a musical work as an agent of a certain style (in this case - classicism); 2) genre method, which represents the work in the unity of typological and individual features; 3) semantic method, which reveals the meaning of the work; 4) interpretation performance approach, which allows building a strategy for performing a musical work. The term “performance strategy” is used in the meaning, proposed by O. Pupina (2015: 9), as an “individual approach of a pianist to the use of performance means with the aim of creating intonation and sound pattern of a musical text”. We also share the view of Yu.Nikolaievska (2017a: 105) on the performance strategy as a means of communication, namely “interpretation of the Other as a subject of meaning addressing”. Conclusion. The works of W. A. Mozart and L. Van Beethoven (Fantasia in D minor, K. 397 and Piano Sonata Op. 31 No. 2) were written in the most significant, turning points in the lives of these composers (even tragic in the case of Beethoven). This led to an extremely personal tone of expression in these works. The choice of the key is by no means accidental, because in the days of Mozart and Beethoven the key of D minor had a tragic, vital and “fateful” semantics. Due to this, modern researchers can interpret tonality as a symbol. The choice of such a meaningful key determines the specific features of the composition and dramatic organization of the works under consideration. These features embody the dialectic of opposites: incompleteness and completeness, continuity and discreteness, balance and its violation, simplicity and complexity of images, stylistic unity and plurality, major and minor coloring, and so on. Identified features of composition and dramatic organization require the search for a specific performance strategy, which should be based on an understanding of the symbolic complexity of the key in D minor, with the active use of music-acoustic thesaurus (Kalashnyk, Loshkov, Yakovliev, Henkin, & Savchenko, 2021).

MEDIA DESIGN IN THE FORMATION OF INNOVATIVE CULTURAL AND ENTERTAINMENT BUILDINGS

The article is devoted to identifying the design features of innovative cultural and entertainment buildings using media architecture and design tools to develop methodological foundations for their formation. Criteria for differentiation of these objects have been determined. The article presents the main typological characteristics of cultural and entertainment buildings using the means of media architecture and design. The functional components of this type of architectural object and complex have been determined. Modern fundamental approaches and the main trends in urban planning, spatial organization and architectural and planning solutions of innovative cultural and entertainment buildings using media architecture and design are identified. The article analyzes foreign experience in designing innovative cultural and entertainment buildings using media architecture and design. Trends in the formation of their volumetric-spatial structure have been determined. The factors influencing the formation of innovative cultural and entertainment buildings and complexes in the urban environment are identified. The article provides definitions of the concepts of "media architecture" and "media facade". The methods of architectural and design formation of innovative cultural and entertainment buildings using the means of media architecture and design are revealed: the method of multi-functional structure, the method of integration with the environment, the method of using national traditions, the method of complexity, the method of flexibility and communicativeness of space, the method of accessibility and adaptability (setting up a universal space), the reception of stylistic unity. The perspective directions of formation and development trends of innovative architectural objects in the urban environment with the use of media design means are determined.

STYLISTIC AND CONSTRUCTIONAL SOLUTIONS IN BOOK SERIES DESIGN "FAIRY TALES FROM AROUND THE WORLD" OF THE NATIONAL CHILDREN`S LITERATURE PUBLISHING HOUSE "VESELKA"

Aim: to analyze the stylistic and constructive features of the design of the books in the series “Fairy Tales from Around the World“ by the publishing house “Veselka“, to trace the sequence of the publishing project and the role of the designer and art-designer in it. Methodology. Historical and comparative methods, as well as art history methods of image and stylistic and formal analysis have been used in the research. Results. The artistic approaches to the creation of 25 books of the series “Fairy Tales from Around the World“ (1978–2016) have been analyzed, the stages of creating the book design of this series have been studied with the help interview of the main artist of the publishing house “Veselka“ (1975–2015), national artist of Ukraine M. Pshinka; the image and stylistic features of this series design have been revealed, which allowed synthesizing the verbal, figurative and architectonic levels of books, ensured the integrity of the book as an artistic object, contributed to the emotional and aesthetic expressiveness of illustrations. Scientific novelty. The image and stylistic features of the decoration of the series “Fairy Tales from Around the World“, founded in 1978 by the National Children's Literature Publishing House “Veselka“, have been analyzed for the first time. The analysis of the books` design in this series as a synthesis of text, illustrations, and layout design has been presented. The sequence of the artistic and production process and the designer`s role in achieving the synergy of visual and verbal images has been traced. The constructive elements of the layout have been analyzed and introduced to ensure the serial stylistic unity of the books, which illustrations were made by different artists, keeping their own bright individual style. Practical significance. The study allowed analyzing the design features of the layout, which due to the creative approach of designers and collaboration with leading Ukrainian illustrators ensured the continued popularity of the books “Fairy Tales from Around the World“ among several generations of young readers, success and awards at numerous international and national competitions over four decades. The construction and serial elements of the layout design, which provided the stylistic unity and recognizability of all books of the series, have been described. The results of the research can be used for further study of the traditions of the art school of illustration and design of Ukrainian books, and also serve as theoretical and visual material in the educational process specializing in “graphic design“.

“Why Are They Afraid?” (Interpretation of the Later Piano Work by Valentyn Sylvestrov)

Relevance of the study. Piano works written by the outstanding Ukrainian composer Valentyn Sylvestrov over the past two decades, in their totality, represent a unique phenomenon in Ukrainian and, possibly, world musical culture. Its uniqueness is primarily provided by such obvious properties as a huge volume, genre integrity and stylistic unity. The special requirements of the composer for the performers of these works, the specificity of their prevailing existence not on the concert stage, but in semi-amateur author’s “home” recordings, determine a whole complex of philosophical, musicological, cultural and interpretational problems awaiting their theoretical and practical solutions. The purpose of the study is to reveal the specifics of the performing reception of the later piano work by V. Sylvestrov through the prism of the categories of subjective and objective performance, on the basis of many years of experience in performing the works of the composer by the author of the article. The results and conclusions. Piano music is the quintessence of the composer’s later style, the center of attraction for his creative aspirations. Despite the seeming simplicity and the absence of technical virtuoso tasks, the later piano work of V. Sylvestrov poses certain interpretation problems for the pianist. The composer, with the help of numerous instructions, determines the special pronunciation of the musical text, which is characterized by the obligation for the performer and stylistic constancy. In bagatelles — these musical moments and insights — the subjectivity of the lyrical expression is achieved by the total restriction of the performing freedom, which is traditionally the defining quality of the subjective performing style. V. Sylvestrov’s careful writing of all performing designations deprives the pianist of the possibility of his own subjective reading. The composer objectifies the subjective, objectifies the implicit essence of pianistic art in an effort to stop the musical moments-insights presented to him from above.

Polyphony in the Choral Creation for Equal Voices Signed by Dan Voiculescu

"This paper represents a more detailed research of one of the defining stylistic aspects for equal voices choral creation composed by Dan Voiculescu. The composer managed to enrich the children's repertoire with important works, starting from the premise that it must be close to the contemporary musical language. Polyphony, in its various forms, gives this type of repertoire stylistic unity and offers many possibilities for modernizing the choral language. Dan Voiculescu uses poliphony to exploit and materialize it in a multitude of compositional devices. The most used polyphonic process in Voiculescu's choral creation is imitative polyphony. It is materialized in various forms, being connected mainly by the tradition of its application from ancient times (Renaissance, Baroque) to the present day. Keywords: polyphony, Composer Dan Voiculescu, choral music. "

PERSPECTIVE TRENDS OF INFRASTRUCTURE OF LIVING ENVIRONMENT ERGODESIGN FORMATION

The article provides definitions of the concepts of "residential infrastructure" and "ergodesign of living environment". It was determined that residential infrastructure is a set of residential units designed for household activities with a system of appropriate services. The article describes the features of architectural and design formation of the modern living environment. Perspective tendencies of ergodesign infrastructure of living environment creation for the purpose of methodological bases of its formation development are revealed. It is established that the infrastructure of the living environment in the future will be improved taking into account the peculiarities of the determining factors, but the architectural environment of local residential units will be more developed. The directions of the architectural environment development of local residential formations are connected. It was determined that they are connected with application of innovative technologies and new building materials, functional intensification of living environment infrastructure, creation of multifunctional residential complexes, development of scale characteristics of buildings and emergence of vertical megastructures. Concepts and directions of architectural designing objects of residential environment infrastructure with use of means of ergodesign are revealed. The methods of forming the ergodesign residential infrastructure formations, which are aimed at creating a humane psychologically and aesthetically comfortable environment of human life, are determined. It is revealed that the main perspective methods of local residential formation include creation of multifunctional residential buildings and structures, maximum usage the natural (water, relief, vegetation) and artificial elements in the structure of residential formations to achieve stylistic unity, creation of universal spaces with the possibility of changing them in time, creation living environment as a single energy system, the usage of advanced technologies, architectural and artistic and engineering achievements to create its unique artistic image, the introduction of automatic "intelligent" systems in the infrastructure of living environment, etc.

“SHESTON” OF S.G. SHESTAKOV AS A VARIETY OF A CENTON

The subject of this article is the original genre of literary games. Its creator is a translator S.G. Shestakov. This genre is a species of centon and is called a sheston. Unlike the traditional centon, it is combined from literary translations of the same text made by different authors, and the use of two lines from the same translation is not allowed. Sheston requires masterly technique, a sense of stylistic unity and a sense of humor, since this is a game genre. This form is associated with significant technical difficulties, therefore, shestons are best compiled on the basis of texts with sufficient autonomy of its structural elements. The article is written on the basis of three composite versions of Shakespeare’s sonnet 66.

THE “24 PRELUDES” FOR THE PIANO BY IVAN KARABYTS AS AN ENCYCLOPAEDIA OF THE UKRAINIAN RENAISSANCE OF THE 1970S

Background. The research is devoted to revealing the semantic analysis of the dramaturgy of one of the large-scale compositions in the creative work of IvanKarabyts – the cycle “24 Preludes” for the piano. The composition was written by Ivan Karabyts in 1976 and today it is of great interest to concert performers and fans of modern piano music. The attention of pianists to the cycle “24 Preludes” by I. Karabyts is attracted, firstly, by the distinctive, original musical language, secondly – by a wide range of performing capabilities and means of expression, and thirdly – by vivid images that inspire pianists to reproduce artistic ideas, hidden philosophical implications. The object of research is the cycle “24 preludes” for the piano as a musical encyclopaedia, reflecting the artistic era in the context of the Ukrainian renaissance of tthe 1970s, and the aim is to identify stylistic patterns by means of the semantic analysis of the dramaturgy of the cycle, finding the intersection in a kind of dialogue with a diverse, significant fund of the music of the 20th century. The methodology of research is focused on the relationship of special methods of analysis: functional-structural, intonation, genre, style, semantic and interpretative one. Results. Ivan Karabyts chooses for his cycle a model of tonal dramaturgy of the cycle “24 Preludes”, introduced by F. Chopin and later by D. Shostakovich, namely – the movement along the circle of fifths in the ratio of major-minor. From the point of view of musical semantics of the preludes of the cycle they can be divided into 5 thematic groups (contemplative and introspective lyrics; grotesque and dance; sound imitation and spatial-visual; stylistic allusions; and tragedy ones), varied in genre-stylistic sense (according to the criteria of modelling the awareness of the lyrical hero (I – the world around me.) The dramaturgy of the cycle is built through their correlation, while forming a certain plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society which is ambiguous and problematic for a human. The composer chooses the prelude as a genre with a historical memory of culture, which allows performers and listeners to experience the range of psychological moments of the human spirit in the turbulent world of events of the last third of the 20th century. The composer is fascinated by this genre not by chance, because the prelude allows reflecting in miniature numerous states of “fixed” moments of existence, the inner balance of the artist and the world. Each prelude in the cycle is a kind of creative laboratory, a field of creative experiments. It reflected both already developed and new methods and principles of the composer’s thinking. While performing one prelude after another as a whole composition, one realizes that this genre expresses the freedom of creativity, the element of existence: it is a fantasy, and a story of the heart, and the revelation of the spirit, and at the same time – bright genre sketches. Conclusions. The analysis of the musical semantics of I. Karabyts’s piano cycle “24 Preludes” testified to the presence of 5 genre-stylistic groups in the cycle (according to the criterion of the dual world notion “psychology I – the world around”). Thus, the genre-semantic analysis of the piano cycle “24 Preludes” has shown that I. Karabyts does not lose touch with history and time, by paying tribute to the masters of the 18th–20th centuries, continuing to develop the type of tonal dramaturgy, laid down by J. S. Bach. In the cycle there is a special “counterpoint” of the “blues” stylistic. The dramaturgy of the cycle has a detailed plot, which begins with the image of the lyrical hero, and ends with a demonstration of the society ambiguous and problematic for a human (“I – World”). The dramaturgy of the romantic dual world turns into a harmony of the modern world with multiple images, echoes of time and inner drama. The genre semantics and its analysis allow the performer to comprehend the large-scale cycle as an artistic picture of the world, and its stylistic unity – as a spiritual universe which belongs to the Ukrainian art of the 21st century.

ПРИНЦИПЫ ФОРМИРОВАНИЯ ОБЪЕКТОВ ЭТНОГРАФИЧЕСКОГО ТУРИЗМА С УЧЕТОМ РЕГИОНАЛЬНЫХ ОСОБЕННОСТЕЙ НА ПРИМЕРЕ БЕЛГОРОДСКОЙ ОБЛАСТИ

The problems of planning the organization of territories and objects of ethnographic tourism, taking into account the landscape features of the regions of the Russian Federation, in particular the Belgorod region, are relevant. The study developed regional principles for planning ethno-tourist spaces on the example of the Belgorod region. The object of research is the territories favorable for the development of ethnographic tourism objects within the Belgorod region, the subject of research is the influence of regional historical and cultural features on the formation of ethnographic tourism territories.
 As a result of the study, based on the analysis of world and national experience in the design of ethnographic tourism objects, their typological and historical-cultural analysis, the principles of organizing ethnographic tourism objects were developed. These principles take into account such regional features of the cultural landscapes of the Belgorod region, as the principle of preservation of the cultural landscape, the principle of authenticity of the recreated environment, the principle of symbolic exposure, the principle of stylistic unity and the multi-level principle. The use of the developed principles will allow us to preserve the identity and originality of the environment, reduce anthropogenic pressures on valuable landscape areas, increase information content and determine the gradual immersion in the concept of a tourist site.

The 2013 Finds in the Context of the Animal Style of the Kurgan 1 of the Necropolis Filippovka 1

The article deals with the specimens of Scythian Animal Style found in 2013 during supplementary excavation of the kurgan 1 of the necropolis Filippovka 1 (previously it was called the 1st Filippovka kurgan) in 2013. The specimens of the Scythian Animal Style analyzed were found in a new excavated burial 2. There were found golden plaques of wooden vessels with zoomorphic handles, silver mirror with gilded handle. There are images of animals on the golden plaques for a dress, some pendants and finger rings. The works of Art described show many stylistic parallels with the specimens of the Animal Style previously found in the mound. Comparing the items we have found some specific features of Scythian Animal Style of the 1st Filippovka kurgan. Among new finds we see also unique ones. In recent years the figures of deer embroidered on sleeves of the dress were found by V.E. Tregubov and K.S. Okorokov. We present the first publication of the research results by K.S. Okorokov reconstructed these figures of deer. These figures also find stylistic parallels with the works of Art of the 1st Filippovka kurgan. Some works of Achaemenid Art contain elements of Scythian Animal Style. The Style of these items also shows some characteristics specific for Scythian Animal Style of the kurgan 1 of the necropolis Filippovka 1. Basing on this we can suggest they were made by Achaemenid craftsmen by order from Filippovka nomads. Our work confirms the thesis of stylistic unity of the works of Art found in the 1st Filippovka kurgan.

СВАДЕБНЫЙ МУЗЫКАЛЬНО-ПОЭТИЧЕСКИЙ ФОЛЬКЛОР РУССКОГО НАСЕЛЕНИЯ ЮЖНОГО УРАЛА

The traditional wedding song of the Russian population living on the territory of mining villages in the Beloretsk district of the Republic of Bashkortostan still remains little studied area of knowledge from the ethnomusicological point of view, and for the first time becomes an object of special research. Analytical base of the article are the expeditionary records made by students and teachers of philological faculty of the Magnitogorsk State University in 1995–1999 under the guidance of the candidate of philological sciences T. I. Rozhkova. The author of the article carried out the editing of song samples. The complex approach used in the article in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classifications, allows to systematize the repertoire of the Beloretsk wedding, to distinguish two musical and stylistic groups — song-and-lament and song-and-dance groups. Each musical and stylistic group combines a part of the wedding repertoire, which is characterized by a certain set of typical features reflecting the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is conducted at the level of verbal, syllabic, and pitch parameters of chants organization. The found regularities allow to draw a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, providing not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole.

The experience of design engineering of industrial equipment: to the question on standardization in industrial design (based on the project of modernization of testing equipment of the Indian company BiSS)

Relevance of the covered in this article questions of referring to standardization in the course of design engineering is defined nu the observed over the recent decade changes in the character of organization of the surrounding a human object world, its complication and growing disarray. The subject of research is the specificity of implementation of standardization principles in project engineering of industrial design with emphasis on interpretation of the latter as the activity on development of user experience. Special attention is given to the description and analysis of experience of referring to project capabilities of standardization in the course of developing design for industrial testing equipment. The author examines the modern research in the area of industrial design, as well classical works in the field of design theory. The scientific novelty consists in determination and specification of the role of standardization in modern industrial design, which currently underlies the development of experience of user interaction. An important outcome became the creation of a project, which novelty is substantiated by international patent. The result of implementation of standardization principles in the course of design engineering of control and protection mechanisms of testing equipment lies in the complex solution of such tasks, as ensuring stylistic unity of the entire product line, ergonomics of operators’ positions, conservation of material, human and time resources. The author outlines the prospects of implementation of standardization in industrial design in the nearest futures due to the need for bringing a growing array of technical devices to a common standard.

СВАДЕБНЫЙ МУЗЫКАЛЬНО-ПОЭТИЧЕСКИЙ ФОЛЬКЛОР РУССКОГО НАСЕЛЕНИЯ ЮЖНОГО УРАЛА

The paper displays the results of research of musical and stylistic features of the repertoire of the Russian wedding recorded in expeditions of the 90-ies of the 20th century in mining villages of the Beloretsk district of Bashkortostan by students and teachers of the Magnitogorsk state University. The author uses comprehensive approach in the analysis of ritual texts, taking into account the results of philological, ethnographic and musicological classification, which allows systematizing the repertoire of the Belarusian wedding, and distinguishing two musical-style groups — lament-singing and song-and-dance. The musical-style group combines a part of the wedding repertoire, which is characterized by a certain set of typical features that reflect the specifics of the form, genre, and content of songs in their direct relationship with the condition and place of performance in the rite. The analysis of musical and stylistic originality of Russian wedding songs and lamentations is carried out at the level of verbal, syllabic, and pitch parameters of chanting organization. Regularities specified for the first time led to a conclusion about the musical and stylistic unity of local ritual and non-ritual folklore genres, which ensures not only the preservation of the corpus of wedding songs and wedding rites, but also the vitality of the local singing tradition as a whole. The paper also suggests that search for the origins of the local folklore tradition should be carried out in the Northern Russian European region, which is characterized by a lamenting (dramatic) type of the wedding ritual.

ПРОБЛЕМЫ ПЕРЕВОДА РЕФРЕНОВ В ПОЭТИЧЕСКОМ ЦИКЛЕ «ПОПУЛЯРНАЯ НАУКА О КОШКАХ, НАПИСАННАЯ СТАРЫМ ОПОССУМОМ» Т. С. ЭЛИОТА

The growing interest in the Old Possum’s Book of Practical Cats poetic cycle by T. S. Eliot, associated with the theatrical release of the film Cats in 2019, which is based on the musical under the same name by E. L. Webber, as well as the lack of serious academic research on the poetics of the great modernist poet’s cycle, determine the novelty and relevance of this study. The article provides a comparative analysis of Russian translations (by A. Sergeev, S. Dubovitskaya, V. Betaki, S. Sapozhnikov) of poetic refrains in the poems included in the cycle. The research is based on the material presented in the annotated, authoritative edition of Eliot’s poetry full collection The Poems of T. S. Eliot (Volume Two, 2015), compiled and edited by one of the leading modern Eliot researchers Christopher Ricks. The analysis is focused on such aspects as the degree of translation accuracy, the refrain subject structure, professional challenges and translation decisions adopted by the authors to convey the typical characteristics of English children’s folk poetry (nursery rhymes), the traditions of which Eliot follows. This article also discusses various approaches to defining refrain. Existing in many forms and having various goals, the refrain is a universal graphic and expressive tool that is used to highlight the main theme of the work and create its structure, in order to bring any important points to the attention of the reader and to facilitate their memorization. The translators’ desire to reproduce all the signs of the original refrain: the poetic structure, graphic highlighting of components that are significant for the author, the rhyming methods and the refrain emotional reflection, makes it possible to embody the features of children’s folk poetry as a literary tradition on which the stylistic unity of all the texts included in the cycle is based.

Light factor in the city’s architectural environment

Lighting design is the area regulated today only indirectly, proceeding from requirements of visibility of objects, mainly, criteria of quantity of light on road coverings and facades of the lit objects and uneven distribution on them. There is an underestimation of its role and potential in creating an artistic image of the city in the design of its architectural environment, counting on the visual perception of it only in the daytime. Purpose of research. To identify and formulate problems and prospects for the development of lighting design, to develop recommendations for the light solution of the urban environment. To consider the light environment as a system, to determine the main levels of architectural and compositional tasks of its formation. Method of research. With the help of the analysis of the light environment of the city of Belgorod the problems of its formation are revealed. The main disadvantage of the formation of the urban light environment is the lack of unity in the solution of lighting different areas of the city, the prevalence of light advertising over architectural objects, destroying the stylistic unity of the urban environment. The comparison of the solution of such problems by the Metropolitan administration is carried out. The importance of light as a factor in the formation of the originality of the city is noted. Research result. The development of the concept of urban lighting is proposed, its basic principles are highlighted, ways of solving the problem of organizing night lighting of the urban environment are identified. The potential of lighting design and lighting technologies in modern architecture is only half, and in Russian projects – hardly a quarter. We are in the beginning, but a growing number of interesting projects gives reason to believe that we are moving in the right direction and with the right approach, using the expertise already available, by purchasing and accumulating your own will inevitably achieve the development of their professional achievements in the field of lighting design and the organization of the light environment of the city. Currently, the problem of competent and qualified approach to urban lighting requires the full attention of architects-urban planners and architectural and design organizations.

TheThirdString Quartet by B. Britten as a phenomenof the late composer style

TheThirdString Quartet by B. Britten as a phenomenof the late composer style

ELECTRONIC LETTER IN THE ASPECT OF TEXT CATEGORIES

The purpose of the paper is to study the peculiarities of implementation of such textual categories as completeness, connectivity, dialogization in electronic letter. Object of study is electronic correspondence and the subject is the style, structure, syntax of letters. Material of the research includes published letters of the Doctor of Physical and Mathematical Sciences, Professor R. G. Barantsev to colleagues and friends, as well as their response letters. Descriptive method, methods of contextual and communicative-pragmatical analysis are used in the research. Practical application of the research is possible while teaching the syntax and stylistics of Russian language. Conclusion: speech implementation of a number of textual categories in electronic letters has its own characteristics. Such boundary demarcators of the epistolary text as address, signature, etiquette formulas of greeting and farewell are reducing (in whole or in part) if the exchange of messages is frequent, thereby the formal completeness of the text is weakening. The dialogization in electronic correspondence is formed not only by the linguistic means typical for written messages (address, signature, pronouns and verb forms of the 2nd person), but also in other ways, such as direct quotation instead of transmitting someone else's speech as direct or indirect speech, language game as a stylistic device that forms a certain tone of communication. The widespread use of incomplete and one-compound sentences, pronouns that are not related to the antecedent, increases the importance of common apperception base of the participants in communication for understanding the text and continuing the epistolary dialogue. Specifying the subject of speech by pronouns with the absence of its introductory nomination in a letter, sending to previous texts of the correspondence by pronouns and particles, stylistic unity within the chain of letters exchanged between two correspondents are the means that enhance the coherence of the text, extend it beyond a separate letter and transform the exchange of monologue texts into a continuous epistolary discourse.

REQUIREMENTS FOR CREATING VISUALIZATION FOR TRAINING PUPILS

The author highlighted the requirements for the creation of pedagogically effective digital visual didactic tools intended for use in the school educational process. This requirements contains psychological that include compression, simplicity, emotionality, structure and integrity of the presentation of visual content; pedagogical requirements, in accordance with the contingent of students, consistency with the pedagogical scenario and the use of visual anchors; ergonomic requirements that provide for comfort, harmony, associativity and unification of visual elements; aesthetic requirements based on the consideration of color solutions, the establishment of typographic accents, the use of stylistic unity, prioritization and combining all the elements into a composition

Methods of Achieving Stylistic Unity Between Portrait, Costume, and The Theatre Play Space

Abstract Creating stylistic unity within a theatre play is more than just a complex process. The original interpretation of the language forms, specific to each artist that becomes part of this creative act, lies within the final aesthetic product. This article starts by analysing the concept of form and movement as a result of syncretism on various levels, from style and movement, to expression and feelings. To achieve this, the author describes the aesthethics of form emphasising the meaning of stylistic unity in achieving the artistic vision of a show. The paper defines compositional laws and theatrical methods that make the muppet play become a harmonic visual ensemble and stylistic unity. Some of these are: stage props and background; the kinetic criterion of moving forms; the ergonomic criterion of forms in space; the criterion of materiality - in creating the clothing and the costume design.

The Enescian Pianistic Notes and Commentaries (1st part)

Abstract Moldavian by nature and genius by vocation, maestro George Enescu remained captured in the universal consciousness as an accomplished violinist, composer and as an amazing and inspired musician – pianist which gathered in an admirable synthesis elegance, refinement, impressionist tones, romantic flames, classic – German construction, all these under the aura of a profound Romanian feeling. All the Enescian pianistic artistic creation is under the sign of the stylistic unity, of the maximal concentration of the musical substance that carry all artistic emotions and the accumulations of the modern musical expression. The generous, wide and bidding instrumental register covers the adage of “unity in diversity”.